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By
NICK ZEGARAC
"Little Women" (1933) is the
first film to be based on Louisa May Alcott's
novel of four young girls and their maturing in an
age of affectation and Victorian sensibilities. It
stars Katharine Hepburn in one of her early
defining roles as Josephine 'Jo' March, the
central protagonist. She's very much a defiant
tomboy in petticoats, defying her Aunt March
(played to perfection by the crotchety Edna May
Oliver), cutting off her long tresses to pay for
her father's train ticket, and always, 'always'
usurping any and all interest to fall into the
trap of becoming some man's noble wife…at least
for a while. Despite the fact that Alcott's novel
is very much an ensemble piece about four girls
growing up, this film is very much the story of
Jo. Other roles are rounded out by Joan Bennett
(as the vane and snooty, Amy), Paul Lukas (Prof.
Baer), Jean Parker (in the thankless role of Beth)
and Francis Dee (as the impetuous, Meg).
Clearly with the goal of generating star interest
in Kate Hepburn, director, George Cukor uses up
the bulk of his running time to extol the
idiosyncratic quirks that make Jo March tick. He
delights, for example, showing us Jo sliding down
the banister at her Aunt March's home, or throwing
snowballs at the young master of the adjoining
maison, Theodore Lawrence (Douglas Montgomery).
Cukor, known throughout the industry as a woman's
director, side steps Alcott's novel on more than
one occasion to satisfy his own artistic vision.
That said, overall then, the film is faithful to
Alcott and a veritable lush and lovely cinematic
experience in the vein of golden Hollywood
filmmaking.
The transfer from Warner Bros. has been
considerably cleaned up for this DVD presentation.
The B&W picture elements from RKO were in very
poor shape. While certain scenes continue to
attest to this lack of initial preservation, most
look quite marvelous and will surely please. There
is a bit of digital edge enhancement that crops up
now and then and distracts one from the otherwise
sterling picture, but these are fleeting moments
of distraction at best. Blacks are generally
solid. Whites are generally clean. Contrast and
fine details are as they should be and film grain,
with minor exceptions, is kept in check. Extras
include a music only selection of score that has
been nicely remastered, as well as extensive notes
on both Hepburn and Cukor; good stuff for both the
heart and the mind. Bottom line: this is a great
golden oldie that will surely warm the heart. But
it's not definitive Alcott. For that one has to
jump seventy years into the future for Gillian
Armstrong's masterful remake, starring Winona
Ryder. |
