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Little Women First volume of Little Women (1868) Author Louisa May Alcott Country United States Language English Series Little Women Genre Coming of age Bildungsroman Publisher Roberts Brothers Publication date 1868 (1st volume) 1869 (2nd volume) Media?type Print Pages 759 Followed?by Little Men Little Women is a novel by American author Louisa May Alcott (1832?1888) which was originally published in two volumes in 1868 and 1869. Alcott wrote the book over several months at the request of her publisher. [1] [2] The story follows the lives of the four March sisters?Meg, Jo, Beth, and Amy?and details their passage from childhood to womanhood. It is loosely based on the lives of the author and her three sisters. [3] [4]: 202 Scholars classify it as an autobiographical or semi-autobiographical novel. [5] [6]: 12 Little Women was an immediate commercial and critical success, with readers demanding to know more about the characters. Alcott quickly completed a second volume (titled Good Wives in the United Kingdom, although this name originated from the publisher and not from Alcott), and it was also successful. The two volumes were issued in 1880 as a single novel titled Little Women. Alcott wrote two sequels to her popular work, both of which also featured the March sisters: Little Men (1871) and Jo's Boys (1886). The novel addresses three major themes: "domesticity, work, and true love, all of them interdependent and each necessary to the achievement of its heroine's individual identity. " [7]: 200 According to Sarah Elbert, Alcott created a new form of literature, one that took elements from Romantic children's fiction and combined it with others from sentimental novels, resulting in a totally new format. Elbert argues that within Little Women can be found the first vision of the " All-American girl " and that her various aspects are embodied in the differing March sisters. [7]: 199 The book has frequently been adapted for stage and screen. Development history [ edit] In 1868, Thomas Niles, the publisher of Louisa May Alcott, recommended that she write a book about girls that would have widespread appeal. [4]: 2 At first she resisted, preferring to publish a collection of her short stories. Niles pressed her to write the girls' book first, and he was aided by her father Amos Bronson Alcott, who also urged her to do so. [4]: 207 Louisa confided to a friend, “I could not write a girl’s story knowing little about any but my own sisters and always preferring boys”, as quoted in Anne Boyd Rioux's Meg Jo Beth Amy, a condensed biographical account of Alcott's life and writing. In May 1868, Alcott wrote in her journal: "Niles, partner of Roberts, asked me to write a girl's book. I said I'd try. " [8]: 36 Alcott set her novel in an imaginary Orchard House modeled on her own residence of the same name, where she wrote the novel. [4]: xiii She later recalled that she did not think she could write a successful book for girls and did not enjoy writing it. [9]: 335- "I plod away, " she wrote in her diary, "although I don't enjoy this sort of things. " [8]: 37 By June, Alcott had sent the first dozen chapters to Niles, and both agreed these were dull. But Niles' niece Lillie Almy read them and said she enjoyed them. [9]: 335?336 The completed manuscript was shown to several girls, who agreed it was "splendid. ” Alcott wrote, "they are the best critics, so I should definitely be satisfied. " [8]: 37 She wrote Little Women "in record time for money, " [7]: 196x2 but the book's immediate success surprised both her and her publisher. [10] Explanation of the novel's title [ edit] According to literary critic Sarah Elbert, when using the term "little women", Alcott was drawing on its Dickensian meaning; it represented the period in a young woman's life where childhood and elder childhood were "overlapping" with young womanhood. Each of the March sister heroines had a harrowing experience that alerted her and the reader that "childhood innocence" was of the past, and that "the inescapable woman problem" was all that remained. [7] [ page?needed] Other views suggest that the title was meant to highlight the unfair social inferiority, especially at that time, of women as compared to men, or, alternatively, describe the lives of simple people, "unimportant" in the social sense. [11] Plot summary [ edit] Part One [ edit] Four sisters and their mother, whom they call Marmee, live in a new neighborhood (loosely based on Concord) in Massachusetts in genteel poverty. Having lost all his money, their father is acting as a pastor in the American Civil War, far from home. The women face their first Christmas without him. Meg and Jo March, the elder two, have to work in order to support the family: Meg teaches a nearby family of four children; Jo assists her aged great-aunt March, a wealthy widow living in a mansion, Plumfield. Beth, too timid for school, is content to stay at home and help with housework; Amy is still at school. Meg is beautiful and traditional, Jo is a tomboy who writes; Beth is a peacemaker and a pianist; Amy is an artist who longs for elegance and fine society. Jo is impulsive and quick to anger. One of her challenges is trying to control her anger, a challenge that her mother experiences. She advises Jo to speak with forethought before leaving to travel to Washington, where her husband has pneumonia. Their neighbor, Mr. Laurence, who is charmed by Beth, gives her a piano. Beth contracts scarlet fever after spending time with a poor family where three children die. Jo tends Beth in her illness. Beth recovers, but never fully. As a precaution, Amy is sent to live with Aunt March, replacing Jo, while Beth is ill and still infectious. Jo has success in earning money with her writing. Meg spends two weeks with friends, where there are parties for the girls to dance with boys and improve their social skills. Theodore "Laurie" Laurence, Mr. Laurence's grandson, is invited to one of the dances, as Meg's friends incorrectly think she is in love with him. Meg is more interested in John Brooke, Laurie's young tutor. Brooke goes to Washington to help Mr. March. While with the March parents, Brooke confesses his love for Meg. They are pleased but consider Meg too young to be married. Brooke agrees to wait. He enlists and serves a year or so in the war. After he is wounded, he returns to find work so he can buy a house ready for when he marries Meg. Laurie goes off to college. On Christmas Day, a year after the book's opening, the girls' father returns from the war. Part Two [ edit] (Published separately in the United Kingdom as Good Wives) Three years later, Meg and John marry and learn how to live together. When they have twins, Meg is a devoted mother but John begins to feel left out. Laurie graduates from college, having put in the effort to do well in his last year with Jo's prompting. Amy goes on a European tour with her aunt. Beth's health is weak and her spirits are down. When trying to uncover the reason for Beth's sadness, Jo realizes that Laurie has fallen in love. At first she believes it's with Beth but soon senses it's with herself. Jo confides in Marmee, telling her that she loves Laurie but she loves him like a brother and that she could not love him in a romantic way. Jo decides she wants a bit of adventure and to put distance between herself and Laurie, hoping he will forget his feelings. She spends six months with a friend of her mother in New York City, serving as governess for her two children. The family runs a boarding house. She takes German lessons with Professor Bhaer, who lives in the house. He has come to America from Berlin to care for the orphaned sons of his sister. For extra money, Jo writes stories without a moral, which disappoints Bhaer. He persuades her to give up poorly written sensational stories as her time in New York comes to an end. When she returns, Laurie proposes marriage and she declines. Laurie travels to Europe with his grandfather to escape his heartbreak. At home, Beth's health has seriously deteriorated. Jo devotes her time to the care of her dying sister. Laurie encounters Amy in Europe, and he slowly falls in love with her as he begins to see her in a new light. She is unimpressed by the aimless, idle and forlorn attitude he has adopted since being rejected by Jo, and inspires him to find his purpose and do something worthwhile with his life. With the news of Beth's death, they meet for consolation and their romance grows. Amy's aunt will not allow Amy to return with just Laurie and his grandfather, so they marry before returning home from Europe. Professor Bhaer goes to the Marches' and stays for two weeks. On his last day, he proposes to Jo. Jo accepts. When Aunt March dies, she leaves Plumfield to Jo. Jo and Bhaer turn the house into a school for boys. They have two sons of their own, and Amy and Laurie have a daughter. At apple-picking time, Marmee celebrates her 60th birthday at Plumfield, with her husband, her three surviving daughters, their husbands, and her five grandchildren. Characters [ edit] Margaret "Meg" March [ edit] Meg, the eldest sister, is 16 when the story starts. She is referred to as a beauty and manages the household when her mother is absent. She is long brown-haired and blue-eyed and has particularly beautiful hands. Meg fulfills expectations for women of the time; from the start, she is already a nearly perfect "little woman" in the eyes of the world. [12] Before her marriage to John Brooke, while still living at home, she often lectures her younger sisters to ensure they grow to embody the title of "little women". [13] Meg is employed as a governess for the Kings, a wealthy local family. Because of their father's family's social standing, Meg makes her debut into high society, but is lectured by her friend and neighbor, Theodore "Laurie" Laurence, for behaving like a snob. Meg marries John Brooke, Laurie's tutor. They have twins, Margaret "Daisy" Brooke a
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Adoráveis mulheres movie online streaming. AdorÃveis Mulheres Movie online store. Ador c3 a1veis mulheres movie online remix. March 8th: MIDSOMMAR (2019) dir. Ari Aster | LITTLE WOMEN (2019) dir. Greta Gerwig the March sisters + seasons ‘And as a woman I have no way to make money, not enough to earn a living and support my family. Even if I had my own money, which I don’t, it would belong to my husband the minute we were married. If we had children they would belong to him not me. They would be his property. So don’t sit there and tell me that marriage isn’t an economic proposition, because it is. It may not be for you but it most certainly is for me. ’ LITTLE WOMEN (2019) dir. Greta Gerwig HAPPY INTERNATIONAL WOMEN’S DAY! Little Women (2019) dir. Greta Gerwig S a o i r s e R o n a n a s J o M a r c h LITTLE WOMEN 2019 | dir. Greta Gerwig LITTLE WOMEN (2019) DIR. GRETA GERWIG “I know that they will be loving children to you. Do their duty faithfully. Fight their enemies bravely. And conquer themselves so beautifully. That when I come back to them, I may be fonder and prouder than ever of my little women ”. Florence Pugh as Amy March in Little Women (2019) L I T T L E W O M E N ( 2 0 1 9) dir. Greta Gerwig ??. ?????? ??? ??? ??? ??????? ??? ???????? ??? ???????? ?????? ??? ????????? ????? ???????? ??? ???? ???? ???? ?? ????????. TIMOTHÉE CHALAMET & SAOIRSE RONAN Little Women (2019, dir. GRETA GERWIG) L i t t l e W o m e n (2019) dir. Greta Gerwig I have lots of wishes, but my favorite one is to be an artist in Paris and to do fine pictures and to be the best painter in the world. ?Little Women (2019).
Предложить материал Если вы хотите предложить нам материал для публикации или сотрудничество, напишите нам письмо, и, если оно покажется нам важным, мы ответим вам течение одного-двух дней. Если ваш вопрос нельзя решить по почте, в редакцию можно позвонить. Адрес для писем: Телефон редакции: 8 (495) 229-62-00. I am a big fan of the original texts having read the books on an annual basis for 20 years. I also adore the 90s movie. I was excited but nervous to watch this adaption and finally gathered the courage to watch it tonight.

First off I am not a fan of Flashbacks and it itriated me trying to keep up with the timeline. Jo March has always been my favorite fictional character she is awkward, loveable, fiery, talented and passionate. The Jo March in this adaption was not that likeable she was awkward, arrogant, static and oddly cold. I feel that the relationships were not developed enough we didn't see enough of the sisters bond, their love and admiration for Marmee and how they opened their home and hearts to Laurie, as the heart of the story is about the sisters more focus was needed on this. Also from viewing this adaption I can't see any relationship or fondness between Laurie and Jo, the proposal seemed to come from nowhere. For me Beth's death was confusing due to the simultaneous flashback scenes and seemed to drag on for some time. As a standalone movie I feel I would have enjoyed it but the heart of the book was missing for me.

My favorite Sandra Bullock moment: The scene in Miss Congeniality when her team has left her and she insists on doing the show anyay. She's backstage and has no idea how to get ready, makeup and that, and the girls all pitch in to help. I tear up every time. Ador c3 a1veis mulheres movie online vs. AdorÃveis Mulheres Movie online poker. Adoráveis mulheres movie online torrent.

Ador c3 a1veis mulheres movie online 2015. Adoráveis mulheres movie online free. The dominant theme of Little Women, as for girls in the nineteenth century, is family. The characters are defined by their familial relations and behaviors toward each other, and all are deeply invested in cultivating and supporting one another. Throughout the novel, Alcott emphasizes the importance of family as not only a practical or economic unit but also a deeply meaningful one. When Aunt March offers to adopt a child, Father and Mother reject, insisting that they stay together. Without money or an urge to be very active in society, much of the March family’s experiences and emotions take place within the family unit, inventing plays and clubs. The main dramas play out within the family as well, such as Jo and Amy ’s fight over the burnt manuscript. The girls miss their Father or Mother not because it makes their work harder, but because they are the moral head and heart of the family. The theme of family encompasses the girls marrying and starting families of their own. Marmee teachers her daughters that having a loving husband and family is the greatest joy a woman can have, as emphasized by the concluding line of the book. Marmee's discussions with the girls about their duties to each other and their parents evolve into discussions about their duties to their husbands and children. Alcott and her characters devote great attention to finding good husbands. Each of the grooms spends significant time meeting and being accepted by the family before the marriage. Laurie in particular evolves from being a neighbor and friend to being a son and brother. While Jo initially a threat to her family unit, the March family actually expands to include these new families. Thus, marriage does not replace but rather enhances the familial bond. Little Women focuses on a particular type of poverty ? that of the working poor. Kindness is shown to those in the book with less than the March family, such as the Hummels. But as Amy and Laurie discuss, “out-and-out beggars get taken care of, but poor gentlefolks fare badly, ” including aspiring young men and women. The poverty of the March family is particularly touching because it is a result of Mr. Alcott’s attempt to help a friend. Meg and Amy have to learn several times to live within their means, but all the girls come to believe that love is preferable to riches. Meg marries John Brooke, and Amy tells Laurie she would have married him even if he were a pauper. Time and again we are reminded ? by the King family, the Gardiners, the Moffats, and Aunt March ? that wealth is no guarantee of happiness. The Laurences show us that money can be usefully and helpfully employed, particularly to help others. Poverty, while challenging, can foster the development of creativity, strength, and character. Several characters throughout the novel learn that honest work, while not easy, is rewarding and worthwhile. Meg often resents her work, envying her friends’ leisurely ways, but she strives to do her work more cheerfully, and is rewarded by her Father’s recognition. John Brooke defends Meg and the working class to Kate Vaughn as an example of American independence. During vacation, when the girls experiment with resting from work, they grow idle and dissatisfied, and they learn from Marmee to maintain a balance of work and play. Again when their Father is sick, Marmee urges the girls to invest their energy into their work to keep their spirits up, led by Hannah who believes that “work is the panacea for most afflictions” (130). When they neglect their duties, Beth becomes ill. Jo sees her writing as work that can help her achieve independence and support her family, but she learns an important lesson from Mr. Bhaer in keeping her work honest and focusing on the means and not just the ends of her efforts. In the end, Jo's happiness comes in working alongside Mr. Bhaer. Even Laurie, who dreads going into his grandfather’s business for most of the book, also embraces working for his grandfather as a meaningful way of life, rather than pursuing music. There is a strong emphasis on morality throughout the book, particularly in contrast to what is considered proper or expected in society. In particular, the March family stresses duty and generosity. For the Marches, morality is implicitly linked to their Christianity, as made clear by the allusions to Pilgrim’s Progress and Mr. March's role as a minister, but also to their wishes for true happiness. Alcott describes how difficult it is for her characters to make moral decisions, but when they do, they are happier than when they make immoral ones. When the girls share their Christmas breakfast with the Hummels, they are happy with their choice and rewarded by a feast from Mr. Laurence. Laurie is thankful to Meg for making him promise to avoid drinking, and grateful that his promises to his grandfather and Marmee keep him out of mischief. The King family provides a counterexample of the unhappiness that comes to the family because of the son’s immoral behavior. Amy is deeply grateful that she married Laurie for love, rather than marrying Fred Vaughn for money. Jo tries to weave morality through her sensation stories by making her “sinners repent, ” but when “morals didn’t sell, ” she leaves the morals out. Mr. Bhaer teaches her, though, that meeting society’s demand is not always worthwhile, and she feels very guilty about her immoral stories. After Beth dies, when Jo writes from the heart, she is rewarded by the return of Mr. Bhaer and her eventual marriage. Independence is a major theme of the book. Despite her devotion to her family, Jo craves independence through work, in order that she may support them. Laurie also struggles with his wish to be independent from his grandfather, feeling this is in conflict with his duty and love for his only family. The characters view their independence as part of their upbringing in America. For many characters, independence is linked to women’s rights implicitly through the book, particularly when it is considered in historical context. Compared to other girls’ novels at the time, the female characters in Little Women are opinionated, well educated, and accomplished girls who are treated with great respect in their homes. Marmee encourages her girls to take an interest in current events. The limitations society places on them because they are girls are most strongly expressed by Jo. In addition to her wishes to run, skate, and ride as boys do, she is tempted to run away with Laurie to have adventures, but rejects the idea because she is a girl. Jo also insists on helping to contribute to the household as a condition of her marriage to Mr. Bhaer. The story of the Meg, Jo, Beth, and Amy is one of constant change. The girls are always working to improve their characters, learn from their mistakes, and move closer to their ideal selves. This theme is made explicit in Part I, when the girls “play pilgrims” in order to address their personal character flaws while their Father is away. This effort does not end as they enter adulthood, but continues as they are confronted with new experiences. Meg learns to conquer vanity in her marriage with John, Jo struggles to accept her duty and develop into a woman, even Beth works to peacefully and cheerfully go to her death, and Amy strives to apply her experiences overseas to become generous and grateful. Marmee confides in Jo that she has struggled to contain her temper for forty years, and that the struggle may continue for another forty years. The girls’ attempts to grow into “little women” are explicitly encouraged by their Mother and Father who explain that self-improvement is both possible and valuable. The goal of such improvement is not only entrance to Heaven, but also a more pleasant experience for themselves and others in their current lives. Duty is a common thread used to justify why the characters should make sacrifices and moral decisions. Even from a young age, the girls consider themselves having duties toward the household, and learn the consequences of shirking those duties. The girls also speak about their duties to society, to host callers and to make formal calls. Later, Marmee speaks to Meg about caring for her husband and her children in terms of her shared duty to both of them. Duty is often considered in terms of self-sacrifice. Father and John Brooke serve in the army despite the love awaiting them at home and despite Father’s age. Marmee considers her sacrifice minor compared to that of a man she meets who has given all his sons to the war. Laurie decides to follow his grandfather’s wishes dutifully, giving up his castle in the air of pursuing music. Jo sacrifices her dream of being a great writer and accepts the duty of caring for Mother and Father after Beth dies, which she finds very difficult, but rewarding. Another aspect of morality emphasized throughout the book is that of generosity. This quality is prized from the very beginning of the book, when the girls decide to give Marmee presents instead of themselves, then share their Christmas breakfast with the Hummels. Beth is held up as the best example of selfless caring of others, unappreciated until she is gone. Even when Beth is dying, she still derives pleasure from making gifts for unknown schoolchildren passing outside her window. Amy strives to be more like Beth, explicitly battling selfishness as her burden. Her growth in this area is shown when she returns her art pieces to May Chester’s table at the fair. Alcott portrays those who are generous with their wealth favorably, such as Mr. Laurence’s gifts to the family and Laurie and Amy’s generosities after they are married. On the other hand, Aunt March is considered sad in part because she only shares her blessings very selectively. Alcott imbues her characters with a love of language and text. Alcott exposes the
5:13 HAHAHA. I think the movie is limited by its source, the Broadway play “END OF THE RAINBOW”. Adoráveis mulheres movie online hindi. I loro stati di salute. Why were Louisa May Alcott's heroines all played by English Actresses? Surely there are some fabulous American actresses that could have been great in these roles as well. How many Americans get to play Queen Elizabeth I or 2nd or Victoria or Demelza or Emma? I think all the versions of Little Women have been lovely, but to have a feel for Civil War era Concord Mass it might have felt a bit more authentic to have the girls portrayed by American girls. I would have preferred it and have seen all 4 previous versions many times.

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AdorÃveis Mulheres Movie. Adoráveis mulheres movie online 2017. Adoráveis mulheres movie online espanol. Ador c3 a1veis mulheres movie online 2016. Adoráveis mulheres movie online download. Ador c3 a1veis mulheres movie online price. Ador c3 a1veis mulheres movie online free. " A book for girls being wanted by a certain publisher, she hastily scribbled a little story describing a few scenes and adventures in the lives of herself and sisters?though boys were more in her line?and with very slight hopes of success sent it out to seek its fortune. Things always went by contraries with Jo. Her first book, labored over for years, and launched full of the high hopes and ambitious dreams of youth, floundered on its voyage, though the wreck continued to float long afterward, to the profit of the publisher at least. The hastily written story, sent away with no thought beyond the few dollars it might bring, sailed with a fair wind and a wise pilot at the helm into public favor, and came home heavily laden with an unexpected cargo of gold and glory. " So Louisa May Alcott vicariously describes the story behind the publication of the book that made her a celebrity overnight with an instant success most authors never dare to dream of. Alcott never intended, however, for Little Women to be her magnum opus; she only needed a little money. Isn't irony wonderful? The novel was published in two volumes in 1868-1869. note Little Women is the story of four sisters, modeled after Alcott and her own, whose once-prosperous New England family has fallen into genteel poverty. Now all young teenagers, the book chronicles their various small attempts to cope with their newly-reduced status, get along with each other, and just generally grow up while their father is away during The American Civil War. The March sisters are: Meg (short for Margaret), the brunette beauty of the family and the responsible first-born who tries to set a good example for her sisters, make Jo behave more like a lady and Amy less like one, and look less poor than she is in front of her rich friends, the Moffat family. Good-hearted and motherly, but also constantly fights against vanity, self-indulgence and discontent, especially given she's the sister who can most clearly remember the family's prosperous past. Jo (a Tomboyish Name for Josephine): Alcott's Author Avatar and, by 19th-century standards, a tomboy?i. e., she likes to stand with her hands in her pockets, whistle, and exclaim "Christopher Columbus! ". Jo generally tends to occupy the opposite end of the Sliding Scale of Idealism vs. Cynicism from her sisters, being plain faced, bold, ambitious, blunt, terribly unladylike, and the unofficial protagonist. Like Alcott, she is a devoted writer. Beth (short for Elizabeth): Shy, quiet, tranquil and gentle, practically perfect in every way except for her utter timidity around everyone and everything but her family. Jo's closest confidante along with Meg, as her real-life counterpart Lizzie was to Alcott (the one counterpart, in fact, whose name wasn't changed). Like the real Beth, she becomes ill with scarlet fever and remains fragile and weak long after recovery. Amy: The yellow-haired, graceful, vain but essentially good-hearted youngest child who grows from a Spoiled Brat into a Naïve Everygirl, and very pointedly Jo's opposite. Her talent?which, she famously laments, isn't exactly genius-level?lies in the visual arts. Ironically, when the real-life May Alcott was later given the opportunity to illustrate her sister's books, the result was panned as woefully amateurish. Their closest friend is their wealthy old neighbor's newly-arrived grandson: handsome, mischievous, half-Italian Theodore "Laurie" Laurence. He quickly befriends Jo, and the others soon after. Women in town wonder to which sister their mother is planning to marry him off, but in fact they are all Just Friends, Like Brother And Sisters ?which becomes a significant plot point later. Other characters include: their strong-willed mother Margaret, whom they call "Marmee" (in the 19th-century New England accent, "Marmee" would be pronounced "Mommy"); their father, a gentleman reverend ruined financially through helping a friend (an idealized version of Louisa's father, prominent Transcendentalist Bronson Alcott); their maid and friend, Hannah; Laurie's tutor, John Brooke, who falls in love with Meg; and their nightmare of a meddling relative, Aunt March, for whom Jo and later Amy work as a companion. The book is fraught with Shout Outs and Homages to Pilgrim's Progress and Anvilicious Aesops at a time before that was considered cliche. The first edition of Little Women ended with Meg and John's engagement. With no Fora or wikis to conduct their Ship-to-Ship Combat, the fans were left to bombard Alcott with letters demanding a sequel, mostly to see Jo and Laurie get married, in the earliest case of Shipping as we know it today. Alcott duly wrote the sequel, but with the firm resolve that " I won't marry Jo to Laurie to please anybody. " Thus came Part II, occasionally published separately under the title Good Wives in the UK. Meg and John get married and have their twins, Beth dies, Amy goes to Paris, and Jo turns down Laurie and goes to New York to pursue her career. Laurie, faced with the dilemma of killing himself or going to Europe, opts for the latter, where he falls in love with and marries Amy. Manfully supporting her parents while grieving for her dead little sister, life improves for Jo near the end when she marries her beta reader and best friend, a wise German professor, Friedrich Bhaer, and Aunt March dies and leaves Jo her estate, Plumfield. Adaptations: The book has been adapted to film several times. Two silent versions in 1917 (UK) and 1918 (US). Two sound films in 1933 and 1949. A made-for-TV version in 1978. A feature film adaptation in 1994, featuring Winona Ryder as Jo, Gabriel Byrne as Bhaer, Claire Danes as Beth, Christian Bale as Laurie, and Susan Sarandon as Marmee. A modern-day adaptation in 2018, coinciding with the 150th anniversary of the book. Lea Thompson plays Marmee, Sarah Davenport plays Jo, Allie Jennings plays Beth, Melanie Stone plays Meg, Taylor Murphy plays Amy, Lucas Grabeel plays Laurie, and Bart Johnson plays Mr. March. A film adaptation in 2019, directed by Greta Gerwig and starring Emma Watson as Meg, Saoirse Ronan as Jo, Florence Pugh as Amy, Eliza Scanlen as Beth, Laura Dern as Marmee, Timothée Chalamet as Laurie, and Meryl Streep as Aunt March. It has also spent time in other media: A miniseries adaptation was produced for the BBC in 2017, penned by acclaimed playwright and screenwriter Heidi Thomas. It starred Emily Watson as Marmee, Maya Hawke as Jo, Willa Fitzgerald as Meg, Kathryn Newton as Amy, Annes Elwy as Beth, and Jonah Hauer-King as Laurie. 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. A professional fanfic ? Geraldine Brooks' March, telling the story of Mr. March, the mostly-absent father from Little Women ? won a Pulitzer Prize for fiction. Pemberley Digital, the YouTube company behind The Lizzie Bennet Diaries, adapted this story into The March Family Letters, video-diary entries which are being sent to Marmee while she's away for a year. A modern graphic-novel retelling, called Meg, Jo, Beth and Amy, was released in February 2019, that relocates the family to modern-day Brooklyn written by author Rey Terciero and illustrator Bre Indigo. Also, despite sharing the same names for the protagonists, this one has absolutely nothing to do with Burst Angel. Note: Little Men and Jo's Boys tropes are NOT LISTED HERE. They can be found and added to this page. Little Women provide examples of: Adaptational Attractiveness: Save for Meg who is always described as being the prettiest of the March girls (and very pretty generally) and the adult Amy who grows to be "attractive and pleasing to the face" though not beautiful, the book makes no attempt to hide the very ordinary looks of some of its protagonists (especially Jo and Professor Bhaer), which obviously isn't going to work onscreen. In the 1994 film, Professor Bhaer, who is described in the novel as overweight and rather grizzled, is played by Gabriel Byrne. In the 1949 version, he's played by the handsome and dashing Italian actor Rossano Brazzi, who was only 32 at the time. The very handsome Ian Bohen plays him in the 2018 adaptation. Louis Garrel, from the 2019 version, is one of the most attractive actors to portray Friedrich in live-action. Likewise Jo, who in the book is described as "tall and brown, with big hands and feet and a flyway look to her" is played by petite, fair-skinned June Allyson in the 1949 film and Winona Ryder in the 1994 film. Katharine Hepburn probably comes closest to averting this; while Hepburn was certainly striking, in the film she is all coltish limbs and angular face, definitely not a classic beauty like Allyson or Ryder. Saoirse Ronan in the 2019 version is also fair-skinned and pretty, although with her stronger, more angular features, she does stand out as less of a classic beauty than her sisters, much like Hepburn did in 1933. Marmee is described as "greying and not particularly handsome". She's been played by Susan Sarandon and Mary Astor in notable adaptations. Spring Byington in the 1933 version is closer to the book. To a lesser extent, Meg, the novel does describe her as very pretty and the beauty of the family but also as "plump" (though considering the time-period of the book, this doesn't mean "fat" or "overweight" but rather shapely and womanly), which doesn't describe the figures of the actresses that portrayed her. Age Lift: The 1949 film version portrays Amy as a teenager, with Beth being a child several years younger than the other thr
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