![]() ![]() ![]() “How do I look?” she asks Laurie, but she already knows. Gerwig zooms in on Laurie’s fingers as he slowly undoes Amy’s linen apron, then follows her as she swishes purposefully across the room in a robin’s-egg hoopskirt and flings a ruffled cream-colored capelet, with intricate floral embroidery, across her shoulders. This was the moment when I realized that something very interesting was happening with the clothes in “Little Women,” which were overseen by the English costume designer Jacqueline Durran. “It may not be for you, but it most certainly is for me.” Then she asks Laurie to unbutton her painting smock. “Don’t sit there and tell me that marriage is not an economic proposition, because it is,” Amy says, wrapping up an argument that Alcott only hinted at in the text. This is not because she is a pampered prima donna, but because she desires a large life, one in which she might have some control over her path. About halfway through Greta Gerwig’s adaptation of Louisa May Alcott’s “ Little Women ,” Amy March (Florence Pugh) is standing in an artist’s atelier in eighteen-sixties Paris, explaining to her childhood crush, Laurie (Timothée Chalamet), that she must marry rich. ![]()
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