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The publisher buys Jos work victory!
but makes her rewrite it to his specifications and pays her a pittance.
So, Gerwig has framedLittle Womenas Jos struggle to tell her story in her own way, sans interference.
The problem is: What is the story that Jo wants to tell?
She hasnt quite found her own voice amid the din of so many other, male-prescribed narratives.
Gerwigs boldest innovation is structural.
She jumps back and forth between timelines, each with its own distinct palette.
The past is certainly the nicer place to hang, but its no Eden.
The Amy-in-Paris section isnt the B plot this time.
Gerwigs overflowing humanism could have swamped the story, but the emotional details are very precise.
Shes a martyr in her own eyes.
The Laurie (short for Theodore Laurence) of Timothee Chalamet might take me several more viewings to comprehend.
The distance created by constant flashbacks is bridged by the emotion in Gerwigs filmmaking.
(This kind of editing doesnt win awards, though it deserves them more than the flash stuff.)
Like her character inFrances Ha, she can be over-solicitous, galumphing instead of graceful.
