Little Women (1933) was directed by George Cukor. The movie is based on the novel written by Louisa May Alcott. The story takes place during the Civil War, but the action is set in Concord, Massachusetts. The film is semi-autobiographical. The book and the film follow the adolescent and young adult lives of the four March sisters: Jo (Katherine Hepburn), Amy (Joan Bennett), Beth (Jean Parker) ad Meg (Frances Dee.) Spring Byington plays their mother, and Paul Lukas plays Professor Bhaer. Jo is the sister who represents Louisa May Alcott. The plot involves her struggle to become a writer, in parallel with Alcott's own struggle to become a successful novelist. George Cukor knew how to bring great performances out of these talented actors. And, of course, his professional relationship with Katherine Hepburn was extraordinary for them both. Little Women was the first of the eight films they made together. Hepburn was only 26 when she starred in Little Women. However, her extraordinary acting ability and her unbelievable beauty were already evident. Her talent was unique, and Cukor knew just how to put that talent onto the screen. If you're a Katherine Hepburn fan--as most of us are--you can't miss Little Women. All films made for the big screen look better on the big screen. However, we saw the movie on DVD, and it worked very well.

Four New England sisters and their Marmee hold down the home-front during the Civil War, with the eldest of the clan, tomboyish Josephine, slowly realizing her ambition to become a professional writer. Sturdy, apparently heartfelt adaptation of Louisa M. Alcott's popular book by Oscar winners Sarah Y. Mason and Victor Heerman was reportedly worked on by many other, uncredited talents; they have managed to retain the Victorian stateliness of the novel--as well as its playful and daydreamy-romantic spirit--though too often the sequences are episodic, and weighed down by the stilted nature of the dialogue. George Cukor directs in a forthright manner which avoids treacly sentimentality, yet the picture is still a tough weeper adorned with variable performances and acting styles. As Jo, the backbone of the material, Katharine Hepburn glows with effusive life; she hits some bad notes on occasion (and Cukor too often reverts to Mona Lisa-like close-ups of Kate to create a mood), though the actress is a magnetic presence and holds together what would otherwise be a skittering narrative. Not so fortunate are Joan Bennett as self-centered Amy, Spring Byington as Marmee, and Edna May Oliver as Aunt March, all of whom are distinctly artificial. Jean Parker is a worthy Beth, the doomed pianist, and the men in the cast fare very well, particularly Henry Stephenson as the neighboring Mr. Laurence and Paul Lukas as a German professor. The make-up in the early scenes is extreme, as if from the silent-era (it seems to tone down as the film progresses), and there are too many characters entering and exiting to make the picture an emotional triumph. It has many fine moments, and Hepburn's admirers should not miss it, but the overall effect is more Hollywood than Massachusetts. **1/2 from ****

Little Women (1933), directed by George Cukor story of March family, four beautiful loving sisters and their Marmee, is an early adaptation of Louisa May Alcott's beloved 1860s classic and certainly one of the best. This is the movie that I believe should be universally loved and praised because it is a cinematic triumph. Everything is perfect in it. The clothes, the hairdos, the sets, cinematography, the musical score by Max Steiner and the brilliant script that brings to life the timeless story -together they take you effortlessly to the Marches' world where you feel their true love and caring for one another, and follow their dreams, theirs hopes, and their heartbreaks. This is the film that made me jealous of the girls who have sisters by showing what treasure the sisters' love is. This is the movie which I want to watch with my Mom during the Mother's day and to tell her how much she means to me. This is the movie with very young, very talented, strong willed, independent, and excellent Katharine Hepburn, perfect as Jo March, the character that Alcott could've written with her in mind. Yes, the film is sentimental, so what? Made 75 years ago, it is young, beautiful, heartwarming, and radiates love, kindness, and goodness.

The oft-filmed Alcott novel received its first lavish production in this 1933 version and it's quite good-looking. Hepburn is fine if sometimes overly expressive as the headstrong Jo March and Lukas makes a good impression as Professor Bhaer, but much of the acting is rather stagy and melodramatic. Montgomery makes a very effeminate and wimpy Laurie. Cukor made some fine films through his long career but his early efforts, including "Dinner at Eight," also from 1933, leave much to be desired. He also has a tendency to make things schmaltzy, not helped by the sappy performance of Byington as the mother. The film also goes on perhaps a bit too long.