Although Jo does begin to write more personal stories, she did not write a full length, personal novel by the end of Alcott's book. The meta-narrative doesn't exist at all in the original novel. However, this was not a moment experienced by Jo in Little Women the novel, but by Alcott in real life, who made a similar bargain with her publisher to marry off Jo March while remaining a spinster herself. In the last moments of the film, Gerwig continues to cut between the book narrative - a joyous family celebration at Jo's school-and the meta-narrative, where Saoirse Ronan's Jo looks on as the printer painstakingly binds her first book. RELATED: Little Women 2019 Cast & Character Guide How Little Women 2019's Ending Is Different By cutting these scenes together and creating a meta-narrative, Gerwig implies that Jo's love for Bhaer and their subsequent engagement is less of a romantic victory, and more of an economic one the emotional climax of the film lives not in romance, but in Jo owning her own story. Bhaer and confess her love, writer Jo is simultaneously agreeing to write that sort of big romantic moment. As character Jo dashes through the rain to catch Prof. Dashwood's office, and the canonical story of Little Women that viewers have watched unfold over the course of the film. Gerwig cuts between this negotiation in Mr. Dashwood does ultimately relent to Jo's terms, but only if she agrees to go ahead and have the main character get married. For Amy, it means making an advantageous marriage regardless of love, and for Meg, it's adjusting her expectations so that she can be happy with what she has. For Jo, a writer through and through, the compromise is artistic. Economic freedom is something all of the March girls want in their own way, and they all find it through some sort of sacrifice. This serves one of Gerwig's overarching themes - the relationship between women, money, and independence. Her new work, a personal novel called Little Women, is good and she knows it. She refuses to give up copyright, and manages to negotiate a higher percentage of the book sales. By the end of the film, Jo is back in the same office negotiating once more, but she has gained a confidence and savvy she lacked in the beginning. Jo accepts, happy for the money but unsure of her work and of herself. Dashwood, played with dry humor by Pultizer Prize winner Tracy Letts, reads her short story, crossing out whole pages and huffing with exasperation before offering her a lump sum of cash. A stodgy New York City publisher named Mr. The film opens with Jo unsuccessfully attempting a negotiation. She explicitly weaves together Louisa May Alcott and Jo March's lives, creating an extra layer that comes together brilliantly in the last few scenes. When Alcott wrote Little Women, she wrote from her own experience, which is part of the reason these characters resonate with readers then and now. Gerwig's love for her source material is obvious in her restructuring of Little Women.
RELATED: Little Women (2019) Review: Greta Gerwig's Adaptation Is A Triumph The March family is abolitionist Alcott's family were station masters in the Underground Railroad. The March family is socially liberal and values the arts Alcott's family was part of the Transcendentalist movement, keeping famous friends like Ralph Waldo Emerson and Henry David Thoreau. The March family is from Concord Alcott was raised in Concord. Louisa May Alcott herself grew up Massachusetts in the years leading up the the war, and many of the plot points of Little Women track closely with details from Alcott's life. For example, instead of following a linear plot (as the book does) the film jumps back and forth in the lives of the four March sisters - Meg, Jo, Beth, and Amy - as they grow up in Civil War-era New England. Greta Gerwig's new adaptation of Little Womenby Louisa May Alcott has captured the attention of fans and critics alike, due in no small part to the way it breaks apart the classic novel before reassembling it in new and interesting ways.
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