Little Women Movie Review & Film Summary (1994) | Roger Ebert

The book has been adapted to film several times: silent versions in 1917 (UK) and 1918 (US), and sound films in 1933, 1949, and 1994, as well as made-for-TV version in 1978. There have also been four anime works (three TV series, including one called Jo's Boys but actually based on Little Men, and a TV special), a musical and an opera. Additionally, there is at least one professional fanfic: Geraldine Brooks' March tells the story of Mr. March, the mostly-absent father from Little Women. She won a Pulitzer Prize for fiction.

Comparison of Little Women Book and Movie - Term …

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How They Should Remake Little Women, the Movie | …

...Book Report on Little Women The masterpiece, Little Women, is one of the most agreeable juvenile novels in America history and has been popular for over 100 years. There are dozens of versions of this book in different languages all around the world. It has been filmized into movies, TV series, and cartoons in many countries. The book is highly praised as a counterpart of the famous English novel Pride and Prejudice, and the author herself was regarded as the counterpart of Jane Austen, the author of Pride and Prejudice. The book mainly talks about lives of four girls in the March family during the Civil War. The four girls are: Meg who takes care of her three little sisters maternally and chooses to live a poor life with her beloved one; boyish Jo who is brave and decisive and has her own dream; Beth who is angelic and sweet but unfortunately dies of scarlet fever; Amy who is delicate and tender and later becomes a true lady. Their lives are not so easy as they face crisis and roughness. But they manage to make life meaningful and beautiful. And through all the difficulties they build themselves up as perfect, elegant ladies. As stated above, Little Women had made an inspiring and directive effort on the development of feminism. The characters in this book presented the feminist spirit and thinking of the author. All the four girls in the book were more optimistic and independent than other characters appearing in the book. But among the four girls, the second...

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RKO production chief David O. Selznick had defied the recommendations of his colleagues by signing stage actress Katharine Hepburn to star in (1932). Her face was considered too angular and her manner too eccentric to appeal to the general movie-going public. When he attended the film's first preview, he could sense the audience's confusion at first, but then saw her performance gradually win them over. At that point, he decided that the role of independent New Englander Jo March in Little Women would be the perfect vehicle for her. The novel had long been on his list of classics he considered ideal for screen adaptation.

Director George Cukor had never read the novel prior to production since he considered it a girl's story and of limited interest. When he read it, he was struck by the strength of the writing and its depiction of life in New England.

Cukor and Selznick did much of their planning for the film on an ocean voyage from Los Angeles to New York.

Selznick went through half a dozen writing teams until husband and wife Victor Heerman and Sarah Y. Mason came up with an adaptation that managed to remain faithful to the novel while paring down some scenes to create a film of manageable length. Cukor also fought to keep the script from making the story too Hollywood. When one adaptation created a happy ending by having Jo's first novel become a best-seller, he soundly rejected it.

The Heermans' script got an unexpected endorsement from the studio's steno pool. While typing it up, the secretaries were so enthralled they kept stopping to read passages to each other and act out scenes.

Cukor cast Joan Bennett as Amy after seeing her slightly drunk at a party. He had always considered her rather hard-boiled, but at the party she revealed a sweet and silly side that was perfect for the character.

by Frank Miller

Title: Little Women (1949)
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Little Women (Mervyn LeRoy, 1949) - download free - General Files

Well, you don’t have to withhold praises from little or older girls. It is the marketing assault on all fronts (movies, TV, hoardings, magazines, …) that over glamorize only a certain standard of women that is to be blamed.

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Mindy Kaling's Guide to Killer Confidence | Glamour

Pre-Code films contained a continual, recurring theme of white racism. In the early 1930s, the studios filmed a series of pictures that aimed to provide viewers a sense of the exotic, an exploration of the unknown and the forbidden. These pictures often imbued themselves with the allure of interracial sex according to pre-Code historian Thomas Doherty. "At the psychic core of the genre is the shiver of sexual attraction, the threat and promise of miscegenation." Films such as were directly marketed by referencing interracial sex; moviegoers received small packets labeled "Secrets" which contained pictures of naked black women. As portrayals of historic conditions, these movies are of little educational value, but as artifacts that show Hollywood's attitude towards race and foreign cultures they are enlightening. The central point of interest in (1931), a film which depicted a blonde woman abducted by a savage tribe of Aboriginal Australians, was not that she was kidnapped, but that she enjoys living among the tribe. The lack of black characters in films highlights their status in .

Little Women (1949) - IMDb

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Films certainly have thepotential to work as fantasies. Rushing and Frentz (they did ananalysis of ) say “Film is clearly a potentvehicle for symbolizing sociopolitical change” (64) and add “Filmsarouse an audience to recognize, with varying degrees of consciousness,the most critical social problems and in a form that is appealing” (65)— in a nutshell, what fantasies do. However, fantasy theme analysis canapplied to film in many different ways. This is how I intend toproceed. Bormann does suggest beginning the analysis by creativelyreconstructing the fantasy (401), so that's what I'll do first with . I will try to determine what values and motives thecharacters embody that audiences might have identified with. Second, Iwill examine some media accounts that suggest the film's fantasy themehas chained out — or grown in popularity — among the Americanpopulation. The movie may be part of rhetorical vision guiding somepeople's behaviour. Finally, I will briefly consider the genderimplications of . In some ways it is avery sexist film, yet it appealed more to women than men (Harris, 15).The way in which it develops its fantasy theme may help explain why.