Word: womanhood
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Dates: during 1990-1999
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...deserves to. For director Gillian Armstrong (My Brilliant Career) and writer Robin Swicord have fashioned an entrancing film from this distinctly unfashionable classic. They do not so much dramatize the passage of the four March sisters from girlhood to womanhood as let it unfold. Over the years the sisters must cope with a father's absence (when he's not off fighting in America's Civil War, he's lost in philosophical musings), a mother's bustling idealism, romances appropriate and inappropriate, the constant threat of poverty and illness. Eventually Jo (the luminous Winona Ryder) embraces art and an older...
...March sisters navigate the passage from girlhood to womanhood with grace, spirit and infinite appeal in Gillian Armstrong's passionate realization of the 19th century children's classic. Winona Ryder leads an entrancing cast in a family film that interrupts our pious pratings about "family values" to say something truthful and unsentimental on the subject...
...deserves to. For director Gillian Armstrong and writer Robin Swicord have fashioned an entrancing film from this distinctly unfashionable classic. They do not so much dramatize the passage of the four March sisters from girlhood to womanhood as let it unfold. Over the years the sisters must cope with a father's absence (when he's not off fighting the Civil War, he's lost in philosophical musings), a mother's bustling idealism, romances appropriate and inappropriate, the constant threat of poverty and illness. Eventually Jo (the luminous Winona Ryder) embraces art and an older man (Gabriel Byrne); Meg (Trini...
...women stare out at the viewer. Even Amedeo Modigliani's Portrait of a Girl, which is the only complete frontal portrait in the show, has eyes covered with aquamarine paint, making her eyeslits seem like precious stones. As girlish as she looks, she seems on the verge of womanhood. Picasso's Woman in a Turkish Costume dissects the sitter and renders her face with the same ostentation as her costume...
...South American town in the '30s, certainly loves her daughter Charlotte (Alejandra Podesta). She is beguiled by Charlotte's grace, her easy imperiousness, her ease with languages, her virtuosity at the piano. And she refuses to accept what is evident to all: that Charlotte, now on the cusp of womanhood, is a dwarf. The townspeople pretend to ignore it. But one fellow, the aging stranger Ludovico D'Andrea (Marcello Mastroianni), sees Charlotte's disability as a sweet eccentricity, like a birthmark or an overbite. Ludovico has been courting Dona Leonor in his fashion, and someday he will be a doting...