But it also shouldn’t come as a surprise, should it? In truth, Gerwig has always possessed a distinct auteurial stamp in her artistic expression a disarming uniqueness she shined through in mumblecores and Noah Baumbach collaborations alike, that predates even her semi-autobiographical directorial debut. Considering the text’s countless iterations as TV series, stage productions and feature films-including a pair of silent-era editions, 1933’s magnificent Katherine Hepburn-starrer by George Cukor and Gillian Armstrong’s excellent 1994 version (Gerwig’s film is easily on par with those latter gold-standard two)- that noticeable freshness of this new “Little Women” is no small feat.
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