Little Women (2019)

Based on the classic novel by Louisa May Alcott, this film tells the story of the four March sisters growing up in Concord, Massachusetts in the middle of the nineteenth century. Loved by generations since its publication, the book has been the subject of several adaptations already, but I think this is definitely one of the better ones.

The four girls, Meg (Emma Watson), Jo (Saoirse Ronan), Amy (Florence Pugh) and Beth (Eliza Scanlen) live a simple life with their mother (Laura Dern) - who goes by Marmee to everyone. Their nearest neighbour is wealthy Mr Laurence (Chris Cooper) who has recently taken in his grandson Theodore (Timothée Chalamet).

I probably don’t know if I need to go into plot description much for this film, as I’m sure most of you have either read the book, had it read to you, or know someone who falls into one of these two other categories. The book has basically been an unwritten required reading for all young women at one stage or another, and the previous adaptations mean that even for those who haven’t (yet) read the book, the story has come into general consciousness - the zeitgeist if you will.

There are a few things I wish to say about this particular version, however. Firstly, the order of events has been modified somewhat. The book - and the story therein - takes place in two distinct times, separated by about seven years. This film - rather than showing the events chronologically, as the book and previous adaptations have done - jumps back and forth between these two times in a very clever way, highlighting significant plot points exceptionally well.

Jo (Saoirse Ronan).

It also allows for events that ‘go together’ - for want of a better term - to occur side by side, making some of the story easier to follow.

But the best result of this method of storytelling is the directing of the viewer’s emotional journey through the story. Cleverly presenting the story as a series of moments, which at its heart, is precisely what the book tries to do, makes this the closest adaptation to what I believe is Alcott’s original intention.

The screenplay, written by director Greta Gerwig, is above all, faithful to the original source material. As already mentioned, various events take place out of sequence - at least as far as chronology is concerned - but everything readers know and love from the book is in there, brilliantly brought to life by the writing just as much as the performances.

Meg (Emma Watson).

Speaking of performances, the entire cast are brilliant. Standouts include Ronan and Pugh, but in an ensemble piece such as this, it is near-impossible to single out these two while ignoring the rest. The simple fact is, everyone in this film has captured the personality of their own character so well, it feels like the characters have leapt straight from the pages of the book onto the screen in front of your eyes.

A more-than-honourable mention must also go to Meryl Streep, whose portrayal of Aunt March is by far the best I have seen on screen. Her comic timing, delivery, and wonderfully expressive eyes, establish her strongly as one of the greatest characters of this film.

It pains me to say this - given the previous projects of composer Alexandre Desplat - but the film does feel a little overscored. The music is fantastic - don’t get me wrong - as one might expect, but there are certainly moments in the film that could have benefited from a little more silence. The majority of the score consists purely of solo piano - which should come as no surprise to fans of the book - and it is certainly well-composed and well-realised.

Theodore (Timothée Chalamet) and Amy (Florence Pugh).

Jess Gonchor’s production design is an absolute delight. Every single set and location have been meticulously and painstakingly designed to capture not only the world of the story - and book - but also to convey enormous amounts of character information.

The same is true of the costumes, designed by Jacqueline Durran. Each and every outfit has been not only researched to be historically and culturally accurate, but also to represent the individual personalities of the character therein.

Director Greta Gerwig has made an absolutely beautiful film here. No matter how many times you have read the book, or how many other versions you have seen before, absolutely nothing can prepare you for what happens (you’ll know what I mean), and this is an indicator of just how swept up in the story you will be. You may not need to see it on the big screen, but you definitely do need to see it - it is truly an exceptional film that has almost everything going for it.

9 out of 10.

On Chesil Beach (2017)

Based on the novel by Ian McEwan, this film tells the story of a young couple who perhaps got married a little too soon without making sure they were properly suited to each other beforehand.

The film centres around newly married couple Edward (Billy Howle) and Florence (Saoirse Ronan) - and when I say newly married, I mean they are on their honeymoon, having just come from the wedding.

They sit in their hotel room over dinner, discussing their courtship and marriage. As they do so, we are shown flashbacks - in fact, most of the film consists of flashbacks, with only very short moments actually taking place in their hotel room, as they slowly embark on their first night together as husband and wife.

Edward (Billy Howle).

Florence comes from a very well-to-do family, with father Geoffrey (Samuel West) in a very comfortable career, and mother Violet (Emily Watson) free to stay at home. She also has a younger sister, Ruth (Bebe Cave). When she met Edward, she had just earned a first-class degree in music from Oxford University, and had started playing first violin in a string quartet with a few of her classmates.

Edward on the other hand comes from a slightly less favourable position. His father Lionel (Adrian Scarborough) is a school headmaster, and his mother Marjorie (Anne-Marie Duff) - who has suffered from a brain injury - live in a small cottage with Edward - who earned his degree, also a first-class, from a local university that wasn’t Oxford or Cambridge. Edward has younger twin sisters Harriet and Anne (Mia and Anna Burgess).

I can’t say a lot about the plot, because I don’t want to spoil the film for you. It is well worth a watch - at least once - and make sure you have tissues handy, the film has plenty of twists and unexpected turns that will have you in tears (if you cry watching films, that is, which I seem to find myself doing more and more).

Florence (Saoirse Ronan).

The screenplay, written by Ian McEwan and based on his novel, is very well written, and brilliantly constructed. I haven’t yet had the good fortune to read the book, though I think I want to now, having seen the film. Everything about the screenplay - every single little part of it - is so clever. All the characters are full, three-dimensional characters with their own backstory and plenty of internal and external conflicts, none more so than the young couple themselves.

Dan Jones’s music is very clever as well. The entire soundtrack is played exclusively by a string quartet, mirroring the lives of the characters - Florence in particular, of course - and in each instance in which it is used, perfectly suited to the emotional core of the scene or moment.

Violet (Emily Watson).

The cinematography, by Sean Babbitt, is spectacular. The use of light and dark, and the contrast thereof, is great, and the framing of the shots perfect in almost every instance. This is helped along somewhat by the natural scenery - Chesil Beach in Dorset, where the couple go for their honeymoon, for one - but even the scenes that take place inside are shot beautifully.

It is in the performances of the cast where this film particularly shines, however. The two leads in particular are fantastic in their roles, bringing drama and pathos to every single line, every blink of an eyelid, every turn of a head. The other clear standout performance of the film is Anne-Marie Duff as Edward’s mother.

Director Dominic Cooke has made a stunning and beautiful film here, one that I definitely intend to watch again as soon as I am able. I encourage you to do the same if you have yet to see it, just remember the aforementioned tissues, and you won’t be disappointed.

9 out of 10.