![]() And during the sequence that notes this, there’s a positively exquisite rendition of "Land O' the Leal" sung in voiceover that brings ALL the feels. I also appreciated that the long separation in the middle of Meg and John Brooke's engagement while John fought in the war for a period was properly acknowledged. Laurence to play his piano, the snow maiden that Jo and Amy and Laurie build for Beth after her initial illness, and Laurie's conversation with his grandfather after Jo's rejection are some sweet, beautiful bits included this version that made me very happy. Laurence sends over after he hears that they gave their breakfast to the Hummels, Beth's early shyness to go visit Mr. Next, the order of events is much more accurately captured here, and a few seemingly smaller, yet significant, plot items that were omitted from previous versions were kept in. I appreciated the screen time that the other sisters were given in this adaptation. But the story belongs to all four of them at the beginning, and then Jo becomes the clear protagonist by the end. Previous adaptations brought Jo to the forefront at the beginning, as that was likely an easy way to deal with time constraints. This mirrors the trajectory of the book very well. Photo Credit: Masterpiece PBS on Facebookįirst, I appreciate that in this version, all four sisters are treated with equal worth in the beginning and then the story gradually becomes more about Jo. Kathryn Newton as Amy, Willa Fitzgerald as Meg, Annes Elwy as Beth, and Maya Hawke as Jo in BBC's Little Women ![]() Here are a few categories of aspects about this version that have made it my new favorite. A three-hour runtime was a definite advantage at the outset and she made the most of it by including many plot points that had been left out of the other adaptations and by more fully developing the characters. I really applaud the writer Heidi Thomas for a lovely screen translation of this story that adhered to Alcott's novel better than either of those previous versions. Both the 1949 version with June Allyson and the 1994 one with Winona Ryder were staples of my childhood, but I was ready for another take on this story when I heard BBC was adapting it. It has all the charm and beauty that makes the novel so loved, yet also doesn’t shy away from the growing pains and losses that the March sisters endure as they go from girls to women. The production is beautiful in its sweet simplicity, the cast is endearing, and the tone of the writing strikes a lovely balance between serious yet hopeful, realistic yet heartwarming. This is the best version of Little Women I’ve seen. ![]() I don’t think I expected it, but here it is… I’ve read quite a bit of criticism of it online, but I honestly don’t know what they’re talking about. BBC produced it and aired it in the UK over Christmas, and PBS just showed it in two consecutive weekends this month here in the US. While I’ve loved this book since childhood, I’ve been reminded this week of just how much I love it through the latest screen adaptation of it. March to his beloved wife and daughters in Louisa May Alcott’s timeless classic, Little Women. I know they will remember all I said to them, that they will be loving children to you, will do their duty faithfully, fight their bosom enemies bravely, and conquer themselves so beautifully that when I come back to them I may be fonder and prouder than ever of my little women.” “A year seems very long to wait before I see them, but remind them that while we wait we may all work, so that these hard days need not be wasted.
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