AniInterview Sorry, this movie sucks

CrawlerChunky In truth, there is barely enough story here to make a film.

Chirphymium It's entirely possible that sending the audience out feeling lousy was intentional

Voxitype Good films always raise compelling questions, whether the format is fiction or documentary fact.

jacobs-greenwood I'd heard this was the weakest screen adaptation of Louisa May Alcott's novel. However, after 90 minutes of wonderfully sentimental tear-jerking moments, to say nothing of the Academy Award winning Art Direction-Set Decoration and Oscar nominated Color Cinematography, I thought those assessments must be wrong.Unfortunately, the last fourth of the film, which focuses primarily on the Jo March character, proved that those critics were right. I think the reason for this is that June Allyson just couldn't carry it as well as (e.g.) Katharine Hepburn did in the original; of course, few could. It's still a very good family drama.This version was produced and directed by eventual Irving G. Thalberg winner Mervyn LeRoy, with a screenplay by Victor Heerman, Sarah Y. Mason and Andrew Solt. In addition to Ms. Allyson, the cast includes Peter Lawford, Margaret O'Brien, Elizabeth Taylor, Janet Leigh, Rossano Brazzi, Mary Astor, Lucile Watson, C. Aubrey Smith, Leon Ames, and Harry Davenport (among others). Harlan Briggs and Will Wright, who plays a kindly storekeeper, appear uncredited.The March family consists of four daughters, Jo (Allyson), Beth (O'Brien), Amy (Taylor), and Meg (Leigh), their mother they call Marmee (Astor), their crotchety and rich Aunt (Watson), and absent (at the beginning and for most of the film) Reverend father (Ames), who's gone off to war. They live next door to the Laurences, Laurie (Lawford) lives with his grandfather James (Smith) because his parents are no longer living.In this version: Jo is the outgoing tomboy who's an artistically creative writer, the second oldest daughter to socially proper Meg who, unlike Jo, is interested in the opposite sex; Amy is a self centered braggart and the youngest, Beth, is a talented piano player who is shy. Because Laurie is lonely, he watches the March family activities through his window. Soon, however, Jo and Laurie are fast friends, running, chasing and playing with one another as two boys would, earning Jo some rebuffs from Meg and Aunt March and growing affections from Laurie.Mr. Laurence is thought to be as stern and crotchety as Aunt March but Jo, and later Beth, learn that their assessment is all wrong. He becomes a good neighbor to them, allowing shy Beth to utilize his piano without an audience that would frighten her. Even though the Marchs themselves are struggling without father's income, Marmee helps those even less fortunate setting a good example for her daughters, who follow her lead.Unfortunately this leads to Beth contracting Scarlet Fever shortly after Mr. Laurence had gifted his piano to her in return for her gift of slippers to him. Dr. Barnes (Davenport) is able to help her pull through while the family, which now includes the Laurences, gathers.Much to Jo's dismay, Meg dates Lieutenant Brooks (Richard Stapley, aka Wyler) whom she eventually marries; father, who returned shortly after Beth's recovery, performed the service. The event leads Jo to despair (e.g. the family is breaking up) which causes Laurie to confess his love for her. When Jo says that she doesn't, couldn't love Laurie in that way, he is heartbroken and storms off.Jo decides to go away to pursue her writing. She's to live in Mrs. Kirke's (Connie Gilchrist) boarding house where she meets Professor Bhaer (Brazzi, almost unrecognizably young in one of his first English speaking roles). Ellen Corby plays the maid, Sophie. He expands her world considerably by taking her to the theater, the opera, the ballet, etc.. He also tells her that the fantasy writing she's done for various murder magazines and the like is not very good, that she's got talent but she's wasting it. This brings her to tears in part because she'd just learned (from a visit) that Aunt March was taking Amy to Europe instead of her.Jo returns home because Beth is again ill. However, she takes the professor's advice and writes a book about her youngest sister. At the film's end, Bhaer brings Jo a copy of her published novel, during a rain storm of course, which leads to the predictable, romantic ending.

grantss Superb adaptation of Louisa May Alcott's novel. Wonderful, moving, bitter-sweet, often funny story, beautifully told. The sense of family and sweet innocence is palpable. Makes you long for simpler times.Solid direction by Mervyn LeRoy. The film moves along at a brisk pace and is constantly engaging.Great performances all round. June Allyson is superb as Jo. Elizabeth Taylor, only 16/17 years old at the time, shows the talent that would make her one of the greatest actresses of all time. Janet Leigh, in one of her earliest roles, is great as Meg. 12-year old Margaret O'Brien almost steals the show as the sweet and precocious Beth. Solid support from Peter Lawford, Mary Astor and Rossano Brazzi.0A classic.

SimonJack Numerous adaptations of Louisa May Alcott's novel have been put on film or recorded. Most are enjoyable, from the earliest silent film movie to the latest updated version. But no others can compare to this second sound film – and first in color, produced by MGM in 1949. The filmmakers got everything right in telling the story of "Little Women" in this film. The set, script, costumes, direction, cinematography, and actors are all superb. The first talkie of "Little Women," was made by RKO in 1933, and starred Katherine Hepburn. That film was mostly a star vehicle for Hepburn, and didn't develop the story and characters as well as does this 1949 movie. In this film, several actors gave outstanding performances – beginning with June Allyson as Jo. Allyson never reached the level of Hepburn's stardom, but she was perfect in the role of the tomboyish Jo in "Little Women." She didn't have to force anything, but seemed natural in her handling of the role. An early scene "set the stage" and assured us of an entertaining film. Jo was returning home and jumped over the fence only to slip and fall on her face in the snow. Then, as any determined boy would do, she got up, walked back around the fence, and jumped it without falling the second time. She walked into the house with a big grin on her face.The role of Marmee was played most beautifully by Mary Astor. No one in any other rendition of the story that I have seen comes close to imbuing the role with such heartfelt sincerity and love. Margaret O'Brien gives the most impassioned performance to her role as Beth in any of the films I've seen. Janet Leigh as Meg, and Elizabeth Taylor as Amy, gave more depth to their smaller roles than their counterparts have in other films. C. Aubrey Smith was the perfect character actor to cast as Mr. Laurence, and his performance was first rate. Lucille Watson handled the role of Aunt March more adroitly – and sternly – than others have. Peter Lawford's quieter, subdued Laurie in the beginning was just right as he began to flower through his friendship with Jo. Rossano Brazzi was very good as Professor Bhaer. The rest of the cast were just right and filled out the story nicely. This 1949 movie of "Little Women" is part of my library of great films. It makes for a most enjoyable evening at the movies at home with family or friends. It will warm the hearts of young and old alike.

gftbiloxi Louisa May Alcott (1832-1888) was an extremely controversial woman, the product of parents associated with the transcendentalist movement, a rabid abolitionist, an early feminist, and possibly lesbian as well. Even so, between 1868 and her death she generated a series of novels for juvenile readers which were extremely popular and which continue to be read today. Easily the most famous of these is LITTLE WOMEN, first published in 1868; it has been adapted to the dramatic stage, to the musical and opera stages; and was filmed no fewer than twelve times during the 20th Century alone.Three of these films have been particularly famous: the 1933 film with Katherine Hepburn; the 1994 film with Winona Ryder; and sandwiched in between them the 1949 version. Released by MGM and produced and directed by Mervyn LeRoy, like many films of its era it was driven almost exclusively by star power--regardless of whether the actor in question was right for the role or not--and given every bright and colorful visual possible--whether it was appropriate or not.The story, of course, focuses on the March girls, four daughters growing up during the Civil War under their mother's care while their father, a Union Chaplin, is away at the front. Meg (Janet Leigh) is the oldest and perhaps most sensible; Jo (June Allyson) is headstrong, boyish, and very determined to be a writer; Amy (Elizabeth Taylor) is beautiful but vain and affected; and Beth (Margaret O'Brien), the youngest, is of a noble but extremely shy disposition. Mother "Marmee" is played by the always memorable Mary Astor; father Mr. March is played by Leon Ames; and the supporting cast includes Lucille Watson, Peter Lawford, and Rossano Brazzi.The 1949 LITTLE WOMEN isn't in the least plausible: the actresses are much too different in coloring and build to be believable as mother and daughters, and although Mary Astor, Leon Ames, and Lucille Watson score extremely well in their performances, the rest of the cast tends to overplay wildly. Of the sisters, Janet Leigh is easily the most believable. June Allyson is seen here at her most brash, Elizabeth Taylor is truly jaw-dropping in a blonde wig, and Margaret O'Brien too often veers into a sticky-sweetness. And yet, curiously, the whole really does work and is tremendously entertaining, the sort of thing we mean when we talk about "a good old-fashioned fun film." Although the script leaves a lot to be desired, the story presented here is really closer to the book than the 1933 and 1994 films, and it has considerable power and authority; in watching it, you get the feeling that of all the many film versions, this is the one that Louisa May Alcott herself would have liked best. The Technicolor images are typically over the top, seeming overdone in the austere Marsh home but very on target elsewhere, and the production values are MGM at its most glossy. Mervyn Le Roy is hardly in the same league with George Cukor (neither is Gillian Armstrong for that matter), but he keeps the show moving at fast clip, and in the end it is extremely enjoyable if somewhat shallow fun. The DVD is "good" rather than fine--but whatever the case, it's a lot of fun.GFT, Amazon Reviewer