Cynthia Erivo embraces abolitionist “Harriet”

Harriet (Cynthia Erivo, Leslie Odom, Jr.) – There have been several movies about abolitionist Harriet Tubman, the escaped slave who became one of the most famous “conductors” of the Underground Railroad.  The latest version features the talented Cynthia Erivo, who starred in Broadway’s revival of The Color Purple. Erivo’s performance is transformative and is worthy of the Best Actress nomination she received.

Tubman grew up as Minty, a woman of uncommon conviction and substance.  Having witnessed unconscionable violence against her family and friends, Minty ultimately left her husband and her home and escaped from Maryland to freedom in Philadelphia.  Adopting the “free” name of Harriet Tubman, she could have lived a safe life in the North.  Rather, she returned home 13 times to lead slaves to freedom.  Braving death, she considered her quest a calling, becoming an unquestioned leader prior to the Civil War in liberating slaves.  During the war, she became a spy for the Union and led the largest battle specifically designed to free slaves.

As a movie, Harriet is a compelling re-telling of the story.  It is beautifully filmed and well-acted.  It is not, however, a deep psychological profile; it is an homage.  This isn’t unusual for movies, of course.  Heroes are often presented as flawless.  The film would have been better if the dive were deeper.  What made her such a brave and relentless woman?  Was there anything in her childhood that drove her to become such as leader?  Why did she feel that she heard messages from God that kept her safe and helped her predict and evade danger?  Curious people want to know.

Nonetheless, Harriet is a very good movie and a fine history lesson.  Erivo is extraordinary.  The supporting cast is convincing and earnest.  Plus, Erivo sings the haunting, uplifting Stand Up, the song played over the closing credits that has been nominated for Best Original Song.  Harriet is difficult to find in theaters; it is available on Amazon for rent or purchase.

Banderas shines in Almodóvar’s “Pain and Glory”

Pain and Glory (Antonio Banderas, Asier Etxeandia, Penelope Cruz, Nora Navas) – It is a foregone conclusion that Parasite will win the Oscar for Best Foreign Language Film.  The only other real competition is famed Spanish director Pedro Almodóvar’s Pain and Glory.  Starring Antonio Banderas, P&G follows the later life of movie writer and director Salvador Mallo, whose life has faded into sickness, despair and depression.

Mallo is barely existing in his well-appointed apartment, choking when he eats almost any solid food and suffering from myriad physical problems.  But it is his emotional infirmities that leave him a shadow of his former self.  Then, one day, he is asked to present one of his most famous films, which has been restored, at a special screening.  The invitation is actually to present it jointly with the film’s star, Alberto Crespo (Asier Etxeandia), with whom he has not spoken since the film was released 32 years earlier.

Mallo is reluctant to do it but is convinced by a friend, Mercedes (Nora Navas), that it would be good for him to do something other than rot in his apartment.  He visits Crespo to persuade him to join him in the presentation.  It is there that Mallo tries heroin for the first time.  Of course, he gets hooked as the drug gives him some respite from his overwhelming pain.  In his stupor, he relives his childhood, re-explores his complicated relationship with his mother (played as a young woman by Almodóvar’s frequent collaborator, Penelope Cruz), and forces him to face his now empty life.

The rest of the film is Salvador’s flashback journey through time, the diagnosis of his illness, and his reunion with an old love, which reawakens his passion for writing and film.

Banderas, who was nominated for Best Actor, sparkles in every shade of Salvador.  As with all great performances, you lose the actor in the character, a rare joy for the audience.  The film is vintage Almódovar, including the twist at the end.

If you can’t see it in the theater, it is available to rent on a couple of the streaming services for less than it costs at your local movie house.  It is subtitled, of course, so settle in for one man’s journey into the truth of his life.

“Jojo Rabbit” fails as satire about Hitler

Jojo Rabbit (Roman Griffin Davis, Thomasin McKenzie, Scarlett Johansson, Sam Rockwell, Taika Waititi, Rebel Wilson) – Jojo Rabbit is another rip-roaring film about Adolf Hitler or, more descriptively, a member of the Hitler Youth whose enthusiasm for the Fuhrer wanes as he gets to know the Jewish girl his mother is hiding in their house.  I am being facetious, of course. There haven’t been a lot of movies depicting Hitler as a funny guy, in this case influencing the imagination of a young 10-year-old, Jojo (Golden Globe nominee Roman Griffin Davis), whose goal is become Adolf’s friend.

The movie is a spoof, a comedy of sorts.  It attempts to be Springtime for Hitler (from The Producers) with a cavalcade of silly Nazis – Hitler (writer/director/star New Zealander Taika Waititi), polite SS officers, and the disgraced head of the Hitler Youth (Sam Rockwell as Captain Klenzendorf).  The latter is running an office full of idiots and misfits, including Fraulein Rahm (Rebel Wilson) and some male assistant with whom Klenzendorf is apparently attracted.

I would describe the plot, but I kept falling asleep.  I was awake to see Scarlett Johansson play Jojo’s mother, Rosie, a surprisingly normal, fun-loving, free-spirited German who is providing shelter for a young Jewish girl, Elsa (Thomasin McKenzie).  Johansson’s performance garnered an Oscar nomination for Supporting Actress despite very little screen time.

The underlying story is more serious, of course. Jojo gets close to Elsa and finds out that Jews are real people.  As he gets to know Elsa, he falls out of love with Hitler.  By the end of the film, Elsa is freed, Jojo has matured, and Rosie is dead (sorry for the spoiler!).

Jojo Rabbit (you’ll find out why Jojo got this nickname) is another movie that audiences liked and critics (by and large) didn’t.  The film feels a bit like a West Anderson pic in the spirit of The Grand Budapest Hotel or a Mel Brooks spoof, but it just doesn’t cut it.

I am going out on a limb here: Jojo Rabbit will not win any of the six Academy Awards for which it has been nominated.  At least, I hope not.

Race at 200 mph to see Ford v Ferrari

Ford v Ferrari (Matt Damon, Christian Bale, Josh Lucas, Jon Bernthal, Caitriona Balfe, Tracy Letts) – In the early 1960s, auto racing wasn’t a very popular spectator sport in the U.S. except for the Indianapolis 500 and the 24 Hours of Le Mans.  Richard Petty was emerging as the dominant driver in NASCAR.  Mario Andretti and Jackie Stewart roared out of Formula One and Indy cars in the mid-60s.

Ferrari, the Italian car maker named for its founder, dominated the luxury sports car market and Formula One racing.  No other automaker came close.  Henry Ford II couldn’t stand the idea that his family’s company, which produced millions of passenger cars and had been instrumental in helping win WWII against the Axis, including Italy, was playing second fiddle to a company it unsuccessfully tried to buy. Plus, Ford was about to launch the Mustang, the revolutionary sports car that would take the American market by storm and make Lee Iacocca, Ford’s marketing genius, a corporate superstar.

Carroll Shelby (Matt Damon) was a race car driver who was named Sports Illustrated’s driver of the year in 1956 and 1957 before switching to Formula One, winning the 24 Hours of Le Mans in 1959.  After his riding career was cut short by heart issues, he turned to designing race cars, to selling sports cars to rich people, and to modifying existing cars for racing.

As told in Ford v Ferrari, Iacocca approached Shelby to propel Ford into a viable competitor to Ferrari.  With an almost unlimited budget and a guarantee of independence, Shelby said yes, bringing his team, including his friend and driver/engineer Ken Miles (Christian Bale) with him.

Ford v Ferrari is more about the Shelby-Miles partnership and bromance than it is about two car companies going at it for prominence in racing.  It paints Ford II (Tracy Letts) as a despot and his executives, led by Executive Vice President Leo Beebe (Josh Lucas), as meddling villains.  Iacocca (Jon Bernthal), a corporate survivor with a vision, is a notable exception although he, too, is as much a suck-up as everyone else in the executive suite.

The movie is excellent, especially if you like car racing.  It soars as it places the audience on the track and in the cockpit.  It also bogs down a bit there.  There have been plenty of movies about car racing, all of which attempt to give the audience a taste of racing at 200+ miles an hour.  Ford v Ferrari does this better than any other; it just does it for too long.  I can’t imagine the hours that Bale had to shoot tight close-ups leaning left and right, turning the steering wheel and changing gears, all while talking to himself.

Although secondary to the racing, director James Mangold makes a valiant attempt to humanize the story by exploring Miles’ relationship with his wife, Mollie (Irish actress Caitriona Balfe), and his son, Peter (Noah Jupe).  Miles’ passion for his family is only rivaled by his love of cars and racing.

As Miles, Bale predictably steals every scene.  Damon, to his credit, lets him.  As much as this is a buddy film, it is not the acting that makes FvF work; it’s the technical wizardry.  In addition to Best Picture, the film is nominated in Film Editing, Sound Editing, and Sound Mixing, not in any acting category or for direction.  This is an action-packed, fast-moving pic that grabs you while illuminating some sports history that only car race fanatics know.

“Joker” is no laughing matter

Joker (Joaquin Phoenix, Robert De Niro, Zazie Beetz) – Delve deeply below the surface of a psychopathic killer and you will find a highly disturbed individual with delusions of grandeur and unfulfilled ambition.  Such is this dark, frank portrait of Arthur Fleck, the man who would become the Joker, archenemy of Batman and nemesis to Gotham City.

In this prequel to the Batman saga, Joaquin Phoenix brings all of his personal baggage and enigmatic personality to the complicated character of Arthur, who is anything but the one-dimensional villain we have met in multiple Batman films and TV shows.

Arthur lives with his mother and is her primary caregiver.  Through the film, we find out about her, including her history working for Thomas Wayne, the soon-to-be mayor of Gotham. It is Wayne’s son, Bruce (we meet him only briefly as a young boy), who would later become Batman.  Arthur has trouble holding a job.  Currently, he is working as a clown, entertaining kids in hospitals or twirling one of those signs advertising on a street corner.  He is pretty good at it.  But Arthur has a temper and a mental illness that causes him to laugh uncontrollably, often when he is under stress.  He is under the care of a mental health counselor from whom he gets his drugs and for whom he keeps a diary of his demented thoughts.

We watch Arthur turn from misfit to victim to killer to instigator.  It is very disturbing.  Should we have empathy for this bullied, battered, and abused man-boy?  Does his background story warrant a second look at the comic book character depicted as a one-dimensional menace to society?

These questions rest at the heart of Joker, director Todd Phillip’s dive into a fantasy world that seems all too real to the plight of people with deep-seeded mental illness.  Indeed, Joker is a comic book movie but it feels more relevant than that.  Phoenix’s performance is magnificent … regardless of what you think of him.  His talent is undeniable.  Four Oscar nominations prove that.  His two Golden Globe wins, for this and his portrayal of Johnny Cash in Walk the Line, prove that he belongs in the pantheon of current American actors.

Joker has been an audience darling and a critical catastrophe.  The movie is no fun whatsoever.  It is a psychological thriller with graphic violence and disturbing images.  It is quite a ride into hell.  Missing is the sly wink of the Batman films or the campiness of the Batman TV show.  Clearly, Phillips had no desire to recreate anything but the look and feel of Gotham.  That he accomplishes spectacularly.  Joker is a very big movie about one man’s plummet to the dark side.

With 11 Oscar nominations, the most of any 2019 film, and more than $1 billion in box office, it deserves more than casual attention.  It is a spectacle worth viewing and worth pondering.

“1917” is an epic personal drama

1917 (George MacKay, Dean-Charles Chapman) – It has been more than a century since the end of what H.G. Wells called the “war to end all wars.”  How could a movie about World War I possibly find an audience in the country that has gone to war too many times to count in the last 100 years?

1917 is a very personal account of the war.  The film tells the story of a pair of British soldiers charged with alerting forward troops about the trap the Germans have laid for the good guys.  Shot almost exclusively with Steadicam, the technology allowing moving cameras to track the subject on screen without herky-jerky movement, it follows the pair as they try to reach their colleagues through the wasteland created by combat.  Be prepared to see carnage – human and otherwise.

When most of us think of war, we think of big battles.  War movies follow familiar patterns and are often big, star-studded spectacles like Tora, Tora, Tora, Midway, and The Longest Day.  Recent films like The Hurt Locker, Zero Dark Thirty, and Green Zone tend to take a small slice of a war and examine it closely with box office stars in the lead (think Matt Damon, Jeremy Renner, and Jessica Chastain).

1917 is different.  The only stars in this film, Benedict Cumberbatch, Mark Strong, and Colin Firth, appear in short cameos.  The lead actors, George MacKay and Dean-Charles Chapman, are unknowns just like the grunts who fight wars.  Oscar-winning director Sam Mendes (American Beauty) manages to create a “little” film on a massive set with some of the most impressive special effects and computer graphics ever seen outside those cookie-cutter comic book movies.

For two hours, Mendes creates the agony, fear, and horror of war through the eyes of these two soldiers, (SPOILER ALERT): one doesn’t make it).  The audience assumes the mission will be accomplished but the obstacles to success seem overwhelming.  Do they make it in time to save the 1,600 men whose lives depend on them?  The outcome is far from certain.  And as we know, war is hell.  At the heart of every war is a person, often not a natural hero, following orders and trying to stay alive and serve his/her country.  That is what 1917 is really about.

Mendes creates a powerful, tense, exhilarating, exhausting drama that brings tears and frustration, sadness and hopelessness. In short, it creates a moving moviegoing experience of the highest order that is one of the leading contenders for the Best Picture Oscar and several others.

Arklow Begins in Pegasus World Cup on January 25

Millionaire Arklow, winner of New York’s Grade 1 Joe Hirsch Turf Classic and one of America’s top turf horses, is on target to make his next two starts in the $1 million Pegasus World Cup Turf at Gulfstream Park on Jan. 25 and the $6 million Longines Dubai Sheema Classic, Donegal Racing founder Jerry Crawford announced.
Luis Saez will ride the 6-year-old Arklow in the Pegasus Turf, Crawford said. Saez won Gulfstream Park’s 2017-2018 Champions meet riding title and lost the 2018-2019 crown by a single win behind reigning Eclipse Award-winning jockey Irad Ortiz.
The 1 3/16-mile Pegasus World Cup Turf is part of a blockbuster card Jan. 25 in south Florida, while the 1 1/2-mile Dubai Sheema Classic is part of the March 28 Dubai World Cup card that is one of the world’s premier race days.
Trained by Brad Cox, Arklow is one of eight Grade 1 winners who received invitations to the Pegasus World Cup Turf, along with seven other graded-stakes winners.
“Arklow is a world-class horse, and his dance card in 2020 will reflect that,” Crawford said. “He’s always in the hunt and is a major threat to win every race he is in. As he proved in the Joe Hirsch, when things break his way, watch out. Even in defeat, he never loses by much and always tries.
“Even in last fall’s Breeders’ Cup Turf, he might have finished eighth but lost by only a total of 2 3/4 lengths behind likely Horse of the Year Bricks and Mortar while racing wide and having to cover more ground than any horse in the field. We don’t have to contend with Bricks and Mortar this year, and I think Arklow is sitting on a huge 2020. We’re excited about having Luis, who might be the most underrated superstar jockey today.”
According to Trakus, the high-tech timing system, no horse in the Breeders’ Cup Turf raced farther than Arklow. Trakus reports that Arklow ran 70 feet farther than Bricks and Mortar, 104 feet farther than runner-up United and 114 feet more than third-place Anthony Van Dyke. Arklow also had the fastest Ragozin and Thoro-Graph handicapping numbers of any horse in the Breeders’ Cup Turf owing to the extra distance he traveled.
Arklow has won six of 24 starts, along with six seconds and two thirds, while accruing $1,816,382 in purse earnings for his career. The horse, a son of the late Claiborne Farm stallion Arch and a $160,000 yearling purchase by Donegal, achieved a graded-stakes victory at age 3, 4 and 5, including the Grade 3 Calumet Farm Kentucky Turf Cup in 2018, then worth $750,000. Arklow was second in the $1 million running of the Kentucky Turf Cup in 2019, avenging his defeat to Zulu Alpha in the Joe Hirsch at Belmont Park.
Even faced with a couple of fluky setbacks in 2019, Arklow finished in the top three and earned $743,000 in five of the six races in which he finished, having unseated his rider shortly after the start in his 5-year-old debut, a debacle that impacted the first part of his season. Arklow also finished fourth in the Breeders’ Cup Turf in 2018.
“We’re excited about the opportunity to run in the Pegasus Turf,” said Cox, who is a finalist for the Eclipse Award as North America’s outstanding trainer in 2019. “When Arklow is doing well, he’ll let you know. And right now he is doing really well. He’s always been a horse that we thought would get better with age. I do think he’s set up for a big year.”
In addition to managing partner and majority owner Donegal Racing, Arklow campaigns for Joseph Bulger and Peter Coneway. Donegal’s partners in Arklow include Nick Nurse, coach of the reigning NBA champions Toronto Raptors.
Donegal Racing was founded in 2008 and two years later had its first Breeders’ Cup starter as Paddy O’Prado, a Grade 1 winner on turf and the Kentucky Derby third-place finisher, came in fifth in the Breeders’ Cup Classic. The partnership has had at least one Breeders’ Cup starter every year since with the exception of 2013. Keen Ice, who in taking Saratoga’s Travers Stakes became the only horse to defeat Triple Crown winner American Pharoah in 2015, was third in the 2016 Classic after taking fourth in 2015.
Donegal also has won Grade 1 races with Dullahan (who was third in the 2012 Kentucky Derby), Finnegans Wake and Carrick. Unlike some partnerships, where horses are syndicated individually, Donegal partners buy into an entire crop of horses purchased each year so that everyone shares in the success.

Parasites abound in best foreign language film of 2019

Parasite (Kang-ho Song, Sun-kyun Lee, Yao-jeong, So-dam Park) – Last year, it was Roma, the Mexican film that garnered 10 Oscar nominations, three wins, and a Best Picture nomination.  This year, all the Oscar buzz surrounds Parasite, the Korean entry that won Best Foreign Language film at the Golden Globes (someone has to explain to me what a foreign language film is to the Foreign Press Association – wouldn’t English films be foreign language to foreigners?).

With sterling critical reviews and audience ratings, Parasite defies easy definition.  At its heart, it is the story of two families, one dirt poor, one unabashedly rich. Critics looking for deep meaning in the film will drone on about “class struggle” as the central message here.  I don’t think so.  To me, this is a typical “things go bad” movie.

It starts innocently enough as we meet a poor family living in squalor.  The parents are out of work while the daughter and son seem unmotivated.  With the help of a teenage friend, the son gets a job tutoring the daughter of a rich family, the Parks.  Before it’s all over, each member of the poor family gets a job working for the Parks in what essentially turns out to be a confidence scheme.  (Note: if the poor family were so good at manipulation and masterminding this scheme, how did they get so poor?)

The tone of the movie is upbeat, even amusing to this point.  After all, what’s the problem?  Both families are happy, the money is flowing and, despite the false pretenses, life is good.  This lasts right up to the time that the Parks’ previous housekeeper shows up at the front door of the Parks’ home in the middle of a deluge while the Parks are out of town.  What follows is more horror film than deep drama.  In some ways, this reminds me a bit of 2017’s Get Out, a surprise hit that combined family drama, comedy and horror.

Rather than spoil the rest, let’s just say that the plot thickens, the poor family is about to be exposed, the rain finally stops, the rich family goes blissfully forward, and “there will be blood.”  And then ponder, “Who (or what) is the parasite?”

It is true that there is no protagonist in the film.  The poor family is deceitful if generally likable.  The rich family is entitled but well meaning.  Even the old housekeeper evokes pity as well as scorn.  As the story evolves into absurdity, the audience is drawn in.  As Johnny Carson used to say: “You buy the premise; you but the bit.”

I can’t say that this is a great film.  It certainly never felt boring; it kept me guessing; and it kept me engaged for all two-plus hours. Would this have been one of the best films of the year if it had been an American film?  I doubt it.  So, I expect, like Roma, it will win the Oscar for Best Foreign Language Film and be nominated for Best Picture and perhaps Best Director (Bong Joon Ho).

Should you go out of your way to see it?  Absolutely if you don’t mind subtitles and enjoy journeys into the absurd.  Otherwise, you can wait for it to show up on Netflix.

“Just Mercy” is about way more than just mercy

Just Mercy (Michael B. Jordan, Brie Larson, Jamie Foxx, Tim Blake Nelson) – If you see this film, you are going to get mad at the injustice that happened … and is still prevalent … in this country today.  If you watch this movie, you are going to find it impossible to separate this story from the hatred and bigotry that has re-emerged in the oft-proclaimed “greatest country on Earth.”

Just Mercy is actually a story of INjustice and NO mercy so the title is clever for its double meeting but doesn’t exactly apply.  “Based on a true story,” Just Mercy centers on an African American, Harvard-trained, newly licensed lawyer named Bryan Stevenson (whose book inspired the screenplay), who heads to Alabama after passing the Bar Exam to represent inmates on death row.  He is inspired, naïve and totally committed.  It doesn’t take long for him to realize that he’s not in his native Delaware anymore.  On his first visit to the jail (the setting is the late 1980s), he is stripped-searched, which is simultaneously insulting, humiliating, and depictive of the worst of the South’s justice system.

Michael B. Jordan, who was so impressive in Creed and Black Panther, stars as Stevenson.  Assisted by a local white woman, Eva (Oscar winner Brie Larson), Bryan establishes the Equal Justice Initiative with a federal grant and finds plenty of resistance from local law enforcement and prison personnel. He is not welcome in town, and is viewed skeptically by the death row inmates, too.  They have seen their share of lawyers, some incompetent, some out to make money, and others just seeking glory.  Stevenson sets out to prove he is there to help.

The film focuses on the case of Walt McMillian (Jamie Foxx), known as Jimmy D., who was wrongly accused of murder, set up by the police, and placed on death row a year before his trial.  Based on the testimony of one convicted felon (played by Tim Blake Nelson is a stunning performance), he was sentenced to death by electrocution.  He had been waiting for more than five years when Stevenson arrives.  Reluctant at first to work with the impeccably dressed and refined kid lawyer, he eventually relents after Bryan visits Jimmy D’s family.  In many ways, the rest of the film is a traditional courtroom drama punctuated by a compelling story of discrimination, southern injustice, and overcoming the odds.

Despite its 2 hours and 15 minutes, the film is riveting … and maddening.  It is compelling filmmaking from little-known writer/director Destin Daniel Cretton.  Make no mistake about it, this film belongs to the actors, particularly Jordan, Foxx, and Nelson.  Jordan’s earnestness is only exceeded by Foxx’s rawness and Nelson’s physicality.  These fine actors are in prime form.

But the movie is not without its faults.  Brie Larson is pretty well wasted as Eva because her character’s development is so very thin.  The prosecutor and sheriff characters are pure ultra-stereotypes (even if true).  Chalk it up to an inexperienced director blessed with a great story and a fantastic cast.

Just Mercy is a must-see for people who feel like our society still hasn’t come far enough on race relations and who are appalled that 11 percent of all death row inmates have been proven to be innocent.

Little Women: A new take on an old classic

Little Women (Saoirse Ronan, Emma Watson, Florence Pugh, Eliza Scanlen, Laura Dern, Chris Cooper, Meryl Streep, Timothée Chalamet) – “It’s a movie about women for women,” was my answer to my wife’s question of “What did you think?”  I suppose that may sound sexist.  I was one of three men in a relatively full theater.  Greta Gerwig, Oscar nominated director and writer, felt compelled to make yet another movie version of Louisa May Alcott’s 1869 novel to mark its sesquicentennial year.

Gerwig’s film is a more modern take on the classic, featuring outstanding cinematography, a memorable score, and an (almost) all-star cast led by 3-time Oscar nominee Saoirse Ronan with substantial roles for the incomparable Laura Dern (2 nominations), Meryl Streep (3 Oscars, 21 nominations), and Chris Cooper (1 Oscar).  Ronan, who starred in Gerwig’s Lady Bird, portrays Jo March, the ambitious, headstrong daughter who serves as the focal point of the film (and, arguably, the book).  In the semi-autobiographical book, Alcott, one of four sisters, is a writer and a fearless woman in a time when men dominated.

The fictional sisters – Meg, Amy and Beth — are played by Emma Watson, Florence Pugh, and Eliza Scanlen. The sisters are extremely different … and extraordinarily close.  Their mother, Marmee (Dern), is loving, permissive, and supportive.  Her husband, the girls’ father, is off in the Civil War.

The female characters are deeply explored; the male characters are more thinly drawn, all of which makes perfect sense in a film about women.  Jo may have been the first American, unapologetically feminist character in literary history, certainly the most well-known.  Her sisters are more traditional but admire Jo’s writing and her ambition.  Jo’s best friend is the rich next-door neighbor, Teddy (known as Laurie to everyone else), who is clearly in love with her.  But love is the furthest thing from her mind.  Meanwhile, Laurie (Oscar nominee Timothée Chalamet), is loved by Amy.  We meet a cacophony of characters, including Teddy/Laurie’s generous grandfather, Mr. Laurence (played by Chris Cooper); the girls’ surly Aunt March (Meryl Streep); and the publisher at Roberts Brothers (Tracy Letts), who prints Jo’s stories.

The film is a generally light and breezy story about the maturation of these four Little Women in a safe and toney community in Massachusetts near the end of the Civil War.  Under Gerwig’s deft hand, the girls play together, share their lives, and hug a lot.  That feels unnatural by today’s standards, but it serves to bind the audience to the sisters.  We feel attached to them, which makes the story timeless, maternal, and ultimately satisfying.  As the girls live and love, grieve and grow, they ultimately must face disconnection.  As the audience, we know it before they do.

Gerwig has crafted a version of Little Woman that should do well at the box office this holiday season but faces a less certain future from the Academy.  It will be interesting to see what Oscar nominations it might garner.  The Golden Globes only nominated Ronan and the score, and the Academy may be dismissive as well.  In an age where more women are helming films in the middle of the #MeToo movement, we will see if the Academy recognizes all of these not-so Little Women.