As with Old, this adaptation of Paul Tremblay's The Cabin at the End of the World replaces its source material's brutal ambiguity with a stridently un-ambiguous final act. He offers a dark warning: One of them must die, or humanity will perish.
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And, thanks to Gerwig, Jo finally exists in a time when women can have all that.If Dave Bautista spends a movie saying the apocalypse is going to happen, is it really a surprise when the apocalypse happens? The buff melancholiac headlines Shyamalan's latest as Leonard, an oddly endearing home invader who holds a vacationing family hostage. But also wrong, because love is all: not just romantic love but the love we feel for family, for strangers, for art, for creativity, for writing. Jo famously bemoans that she is “so sick of people saying that love is all a woman is fit for”. In allowing Jo’s star to be born (sorry not sorry) she has rediscovered the pulsing heartbeat of Little Women.
So, in an age of endless reboots, Gerwig’s Little Women is not a derivative cash-grab.
Instead, seeing Jo behold her very own book is the stuff of deep, abiding love. The kiss in the rain under Bhaer’s brolly might as well be off-camera. Indeed it’s deferential to Alcott, a nod to the end she wanted to write (she had wanted Jo to be a “literary spinster”, in her own words) but couldn’t because of the demands of the day. This new ending is a twist but not a twist of the knife. Her burgeoning career, we are positioned to believe, is what is really real, or at least what really matters. But we also see Jo watching her novel being printed. We see Jo opening a school in cantankerous Aunt March’s mansion, surrounded by Bhaer and her sprawling family. Jo writes an ending to her novel at the behest of her publisher in which her protagonist marries. Gerwig knew audiences haven’t felt an affinity with Jo’s fate for many years so she concludes her film with a meta-twist in which two endings play out in tandem. Saoirse Ronan, Laura Dern, Eliza Scanlen, Florence Pugh and Emma Watson in Little Women.
Moreover it told us that settling down – or that settling, period – is not just necessary but inevitable. Having her marry Bhaer sent a message: that our imaginative lives are auxiliary to our domestic duties, or at best a folly of childhood.
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She was a guide for how to be a girl but not only a girl. She lived fearlessly, authentically and creatively. It’s arguably an unsatisfying conclusion because Jo nearly represented a consequence-free refutation of gendered strictures. Mostly I love Gerwig’s film because it allows us to see – inevitable spoiler alert − Jo come into her own in the final act.Īmid pressure from her publisher and readers, Alcott acquiesced to giving Jo a neat romantic ending with an older professor, Friedrich Bhaer.
Notable mention goes to Timothée Chalamet as Laurie, if for no reason other than his petite stature being grounds enough for a Little Men spin-off. I applaud the casting of Saoirse Ronan as the indomitable Jo March, and respect the long-overdue redemption of Amy, played by Florence Pugh. But as much as I adore Armstrong’s version, it’s Gerwig’s remake that truly moves me.
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