Little Women – Recreating A Classic

I went into this movie not knowing much about the book and not being familiar with the previous adaptations of it. This worked for the better as I was able to fully enjoy everything as I was seeing it for the first time. So much so, I came to realize that the book takes a linear route whereas the movie skips back and forth. Greta Gerwig’s second directorial venture Little Women is a beautifully made film that pays tribute to its source material but with her stamp on it. The cutting between different years adds some detailing as to why these people are the way they are and that fleshes them out even more.

One of the strengths of the film is the casting. Be it Saoirse Ronan, Florence Pugh or even Timothee Chalamet, they feel like they are a part of this world. A pleasant surprise was French actor Louis Garrel who in a smaller part manages to leave quite an impression. If there’s anything that could have been changed in the screenplay of Little Women, it is that the cutting between eras could have been reduced a little. But apart from that, this is a brilliantly written and acted film with a gorgeous score from Alexandre Desplat to boot.

What makes Little Women even more remarkable is how relevant the themes are. Agency for women, economic freedom, the choice of marriage are all topics that still hold importance. And the journey we take with these characters is one of joy, pain and hope. The best performance comes from Ronan who deservedly got an Oscar nomination. She internalizes all that is Jo March so much that we start identifying with her. Her monologue towards the end of Little Women carries the emotional equivalent of a gut punch. She is supported by wonderful dialogue from Gerwig that transcends the era the film is set in and makes it timeless.

To talk about Little Women without mentioning the cinematography of Yorick Le Saux would be a mistake. His frames carry that immaculate beauty we have come to associate with period films. There is this shot of a palace in France that made me pop out of my seat, it was that beautiful. I look at Little Women as a triumph for Greta Gerwig who is already one of my favorite directors. The way she uses the camera, dialogue and blocking to tell a story makes it look she has been doing this for years. She took a story that had already been told, turned into something that was hers, made it relevant and into an engrossing film.

Until next time, bye.

The Demon Inside

One of the things that I like the most about any film by David Lynch is the amount of discussion that it inspires. Since his films have many interpretations, you can go on and on about what you feel about the film. His films are like puzzles that can be solved in different ways. This makes him a very unique filmmaker. One such puzzle that Lynch served is Blue Velvet. The most memorable aspect of this great film is probably is its villain, Frank Booth. He is one of the most horrifying characters to ever be created. But I would like to talk about another aspect of the film that is sometimes overlooked.

During the course of the relationship our protagonist has with the singer, he has feelings that scare him. And this is because he’s scared that he is capable of stuff that he didn’t know he could do. When he hits her for the first time and is upset about it, he fears that he could become into another Frank. In a way, this is what we are all afraid of. The feeling that there is darkness lurking within us and that we’re capable of evil things. In my opinion, this is what the film is about. It is about what goes on beneath the surface. Something that appears to be serene and beautiful from the outside may be harboring something evil on the inside. Well, that’s my two cents on Blue Velvet.

Until next time, bye.