Jo March and her sisters Meg, Beth, and Amy live in a happy family in Concord, Massachusetts. Jo yearns to be a writer, and through the course of the years, finds much within her own family... See full summary »
Little Women is a "coming of age" drama tracing the lives of four sisters: Meg, Jo, Beth and Amy. During the American Civil War, the girls father is away serving as a minister to the troops. The family, headed by thier beloved Marmee, must struggle to make ends meet, with the help of their kind and wealthy neighbor, Mr. Laurence, and his high spirited grandson Laurie.Written by
Liza Esser <firstname.lastname@example.org>
Uncredited producer David O. Selznick had a difficult time convincing RKO executives to produce this film. There was a belief in Hollywood at the time that films based on historic novels were not popular, particularly one that centered on women during the Civil War. Selznick persisted, and the film was a commercial success. Because of this, later in the decade Selznick produced Gone with the Wind (1939) through his own production company, Selznick International Pictures, from the novel by Margaret Mitchell. See more »
Jo takes off her hood twice when entering for tea. See more »
So you're going to Washington?
Yes, ma'am; my son is sick in the hospital there.
Oh, this will be an anxious Christmas for you.
[finding him a coat]
I think this one will do; let's try this. Is it your only son?
No, ma'am. I had four; two were killed, one is a prisoner.
You've done a great deal for your country, sir.
Oh, not a mite more than I ought, ma'am. I'd go myself if I was any use. Thank you for the overcoat.
Wait a minute...
[giving him some money]
I hope you ...
[...] See more »
Older video and television prints remove the original RKO logo in the opening and replace it with the one from Selznick International. See more »
Great version for the performances of Hepburn and Lukas
See this version of course, for the definitive Jo March in Kate Hepburn. She is all angles, awkwardness and tom-boyishness, while gradually becoming this graceful young woman. It's my favorite performance of hers, and that's saying something. The screenplay is first-rate, winning the Oscar that year, and most of the actors are just fine, with Spring Byington a notable exception as Marmee. (Director George Cukor did not want her in the film, and he knew what he was talking about.) But the wistful, gentle Beth of Jean Parker and Edna May Oliver's crotchety Aunt March are awfully good . I've always been especially taken by the performance of Professor Bhaer in this version. Portrayed by an utterly charming Paul Lukas, he embodies the professor with a three-dimensionality that Louisa May Alcott didn't seem to want to bother with. His scene where he is criticizing the writings of Hepburn's Jo is extraordinary in how subtly it changes tone--from critic , to would-be suitor. It ends with a look of longing from Lukas, that only a director like Cukor would hold so long. Not like the 1994 version with a far too handsome Gabriel Byrne showing none of the uncertainty that an older poor scholar should show while falling in love with a young woman. Great stuff. Great director. Just a shame that the sound quality isn't up to the rest of the film.
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