她們 (2019)：那些堅定、昔日的故事 | Little Women

The classic novel "Little Women," penned by American author Louisa May Alcott in 1868, offers a deeply personal narrative inspired by her real-life experiences with her three sisters. It presents a character depiction starkly different from the conventional female image of the time, creating significant ripples in the literary scene and inspiring countless women to pursue their dreams. In 2019, the film adaptation, "Little Women," starring Saoirse Ronan and Emma Watson, earned six Oscar nominations in 2020. In the following passages, I will explore the inspirations we can draw from this story, examining it through the lens of six distinctive themes.

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Observing the Status and Role of 19th Century Women Through the Lens of Time

Little Women," published in 1868, emerged in the aftermath of the American Civil War, a time when women faced considerable restrictions and oppression in societal, familial, and professional contexts. Society held that a woman's primary duties were motherhood and wifedom, taking care of the household, and providing emotional support. Educationally, women often did not have the same learning opportunities as men. They had no right to vote, scant chances for employment, and lost rights to their property after marriage.

Regardless of a woman's personal talents or abilities, her opportunities for financial independence and self-fulfillment were usually significantly limited. Hence, many women pinned their hopes and expectations on marriage, believing that marrying into a good family could alter their circumstances.

The four sisters in the book symbolize the four potential paths that women at the time could take, including traditional family life (Meg), the pursuit of personal fulfillment (Jo), engaging in social welfare (Beth), and the desire for material life (Amy). Author Louisa May Alcott used these four main female characters to showcase the difficulties women faced and their yearning for freedom and independence.

Therefore, "Little Women" is more than a novel describing women's lives and emotions; it is a vivid portrayal of the female condition in the 19th century.

Depictions of 'Little Women' across Different Eras

"Little Women" is a classic in American literature and has been adapted into movies and TV series multiple times since its publication. Each version allows us to see varying perspectives grounded in different social and historical contexts, as well as the unique interpretations of the story by each director and creative team.

In the 1933 version, directed by George Cukor and featuring Katharine Hepburn as Jo, the emphasis lies in showcasing women's roles in traditional society and the values of family. The narrative of "Little Women" is placed within a romantic and touching screenplay.

1949 version, directed by Mervyn LeRoy, with Elizabeth Taylor playing Amy. This version made good use of vibrant colors and period set designs, embodying the archetypical big Hollywood production. Moreover, this rendition focused more on the conflict between female characters and their era.

1994 version, directed by Gillian Armstrong, with Winona Ryder playing Jo. This rendition highlighted the feminist tones from the original work, emphasizing Jo's autonomy and independence as a woman. Jo in this film is no longer merely a rebel; she is a woman who fights for her rights.

2019 version, directed by Greta Gerwig, with Saoirse Ronan playing Jo. This version doesn't narrate the story linearly but adopts a time-jumping approach, intertwining characters' present and past, enabling the audience to perceive characters' growth and changes concurrently. On the topic of feminism, Director Gerwig did not sidestep, allowing every female character to have a more independent and distinct character portrayal and telling the story from a more rational perspective.

Jo (played by Saoirse Ronan): Love is not everything for a woman

Jo is a prototypical progressive woman, staunchly pursuing her writing dreams and rejecting Laurie's proposal. She refuses to settle for marriage for the sake of love, stating that it would make their lives miserable. However, as she faces one departure after another, she feels lonely and craves love while persisting in her ideals.

Jo has a heart-shaking line in the film: "Women have the ability to think independently, they have souls and emotions; women have ambitions, talents, and beauty. I am so sick of hearing people say love is everything to a woman."

Her sister Beth is the warmest and most steadfast character in the story. When no one in the family is willing to help the neighbors, Beth bravely steps forward. Beth's presence reminds people of that pure gentleness and love. Whether she's bringing food to help the neighbors or playing the piano at the Laurence house, she brings deep warmth to people. However, during the days she spent with Jo, Beth departs from this world. For Jo, this is an unbearable reality.

"Family" and "childhood memories" form the main structure of her world. So when Meg gets married, Beth passes away, and Amy replaces her in going to Paris, Jo is overwhelmed with anxiety. She fears that as she pursues freedom and equality, opposing societal norms, one day she too will be abandoned by the world.

When Amy and Laurie get married, Jo eventually realizes that she is not truly pursuing Laurie but searching for those lost days, the times when she was once loved. After realizing this, her heart finally becomes liberated. She incorporates memories of family, love, and growth into her stories.

Saoirse Ronan plays Jo March in Greta Gerwig’s film adaptation of Louisa May Alcott’s *Little Women. “*The only people that I really envy, I think, are kids because they have the best of everything,” Ronan says.

Laurie (played by Timothée Chalamet): Seeking warmth and love

He lives with his grandfather in a luxurious villa, but he craves the love found in the March family's cozy cottage more. His love for Jo is fundamentally different from his love for Amy, each representing different things in his life.

When Laurie first encounters the March family, he's attracted to Jo's attitude towards life. Her vitality and freedom enrich his life, allowing him to experience joy. Laurie sees in Jo what he's been longing for: a life filled with family and love, which he lacks in the villa. The March family brings him hope and longing for the world.

Laurie's reaction to Meg being referred to as "Daisy" at the ball also serves as an indication of his longing for the March family's lifestyle. He cannot accept Meg abandoning her identity for the sake of reality. For him, becoming a part of the March family represents his greatest dream.

It's undeniable that Laurie's deep affection for Jo stems from the unprecedented feelings she has given him in his life. Even during their emotionally charged confrontation on the meadow, the love they have for each other can't be denied. However, Jo understands that she needs a type of love that allows her to remain true to herself and grow collectively, not a love that brings responsibilities and limitations. She realizes that this kind of love is something she can't find in Laurie.

After marrying Amy in the end, Laurie declares that he still loves Jo, but I believe that is more of a love for family, a love for the March household.

Meg (Emma Watson): Marrying for Love, Dreaming of Elegance

Meg has dreamt of a graceful and comfortable life since childhood. She's full of gentle charm, loves acting, and is a woman that completely conforms to the values of her era. But she ultimately chose love, marrying her beloved John Brooke, a scholar who wasn't wealthy, and lived the life of a housewife. Despite their modest means, Meg feels fulfilled and grateful for her family.

Her story illustrates that the warmth of love and family often surpasses the value of material possessions. This sense of satisfaction and happiness often stems from our kinship and love, not merely material abundance.

"My dreams are different from yours. That doesn't mean they're unimportant." Dreaming of a beautiful family, even at the cost of abandoning another dream, is also a choice. There's no right or wrong, no dream more noble than another. This is the lesson Jo must learn.

Amy (Florence Pugh): The Most Rational One

Amy is known for her rationality and realism. Aunt March tells her that while her sisters are adamant about pursuing their dreams, she must marry a wealthy man. The March family is poor, and it is up to her to save the family. She is clear that she needs to elevate her social status through marriage, even if it means giving up her beloved painting.

When Amy's conversation with Laurie reveals her true feelings, she utters the line: "Great or nothing." This not only defines her expectations for herself but also for love.

Amy indeed loves Laurie, but she initially had no intention of expressing these feelings, planning instead to keep them hidden, find a suitable match, satisfy part of herself that loves wealth, and meet societal expectations. However, a chance encounter with Laurie on a carriage, and a subsequent conversation at the gallery, made it hard for her to resist Laurie's confession, even if she didn't want to be a substitute for Jo. In the end, Amy chooses to follow her heart, rejects a proposal from a wealthy man she doesn't love as much, and confesses to Laurie, "Not when I've spent my entire life loving you."

Conclusion

Through the story of "Little Women," we have the opportunity to see how women in the 19th century faced life's difficulties and pursued self-actualization. It prompts us to consider notions and values of love and equality, kinship and responsibility, dreams and reality. This work helps us understand that, regardless of the era, people have the right to pursue dreams and seek happiness, and respecting each person's choices is the basic courtesy we owe to each other.

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