User Reviews

In "Little Women," Liz was given a chance to play comedy, and as the selfish, flighty Amy who loves to eat and who misuses big words, she's a delight…

Mervyn LeRoy's version has one advantage over its illustrious predecessor: as Amy, the trivial and dizzy vixen and the most engaging of the tear-stained March sisters, Liz has much more spirit than Joan Bennett… Her part is a charming respite, a light-hearted version of the women in love who were the chief ingredient of her upcoming ingénue period…

"Little Women" was sweet and sentimental… It was the familiar story of four Massachusetts girls who during their father's Civil War absence learn to grow up and find direction in their lives… The film has the requisite portions of frivolous comedy and soap opera heart emotions; Margaret O'Brien suffers nobly, Janet Leigh smiles sweetly, June Allyson tries valiantly, and what more could be asked of Louisa May Alcott's long-lasting perfumed account?

The film marked an end to Taylor's child-woman phase… Part foolishly teenager, a flighty girl who looks at life from the angle of a Victorian romance, part incipient flirt, coquettishly but kindly stealing Laurie away from older sister Jo, her Amy is a pleasing mixture of the Taylor innocent and the Taylor minx

What a fantastic cast! Everyone has their favorite of the numerous film versions of Louisa May Alcott's classic and this is mine.

From LeRoy's breezy direction to the beautifully subdued Technicolor this movie resonates. The true draw, however, is the cast. Two of the classic screen beauties, Janet Leigh and Elizabeth Taylor juxtapose nicely opposite the ultimate girl-next-door June Allyson and television legend Margaret O'Brien. All of them are very young here and incredibly charming.

Allyson leads as Jo March. Her interpretation is as sensible, no-nonsense, tomboyish and, ultimately, womanly as you can hope. Allyson pulls it off without the coolness Katharine Hepburn displayed in the 1933 version. Her Jo is very accessible and entirely sympathetic. That is not to say I do not enjoy Hepburn's Jo as well. It was a near flawless portrayal and technically superior to Allyson's. I did, however, prefer the warmer Allyson version.

Janet Leigh (one of my favorite starlets) doesn't have a lot to do with her character as, in the movie, Meg mainly functions as a catalyst for and example of Jo's feelings regarding love and marriage. Still, Leigh is perfectly poised and has great chemistry with the other little women.

Elizabeth Taylor makes a bit more out of her juicier role of the seemingly superficial and selfish Amy. Taylor is delightful and brings a lot of laughs as she fusses over food, glamour and sensibilities, all the while mispronouncing the five dollar words she loves to work into her conversations.

O'Brien plays the role of Beth with all the delicate vulnerability needed for the character. Lawford is charismatic as Laurie and Watson is appropriately annoying as the meddling Aunt March.

I highly recommend this (and the 1933 version) for a warm and touching adaptation of the book.

The cast of this film reads like a who's who of MGM studio: C. Aubrey Smith, Harry Davenport, Mary Astor, Leon Ames, June Allyson, Janet Leigh, Elizabeth Taylor and Margaret O'Brien... The accumulation of all of these stars is a super-treat for fans of the films of the 30's and 40's. And - oh, yeah - they all deliver stellar, memorable, poignant performances!

But this film is deserving of the designation of "classic" and is superior to the 1933 version primarily because of the performance of June Allyson. Every time she exclaims, "Christopher Columbus!" it seems very natural. In fact she makes all of her difficult dialog (including the oath, "bilge!") seem very natural. This ability to appear completely comfortable and natural stands in stark contrast to the delivery of Katherine Hepburn in the '33 version. These words never seem to be Jo's own, when spoken by Hepburn; whereas, they are indeed Jo's when spoken by Allyson. They are glaring and obtrusive in Hepburn's dialog, and a seamless part of Allyson's. Hepburn is an actress losing a struggle with uncomfortable dialog; Allyson embraces it. This alone makes Allyson the definitive Jo, and makes this 1949 version the definitive "Little Women." Allyson's Jo is real flesh-and-blood, while Hepburn's Jo is a melodramatic character.

Several things - both good and bad - occurred to me when I saw this film. As other people have pointed out, Amy was the youngest of the four, not the third sister, but what struck me was that - despite the fact that she was clearly older than the twelve year old Amy should have been - she still sounded like a child, particularly when she was complaining, which she tended to do a lot. Additionally, Laurie looked much older than the fifteen he was supposed to be, probably nearer twenty-five, and at one point slipped into an English accent.

As Amy was clearly older than twelve it seemed very strange to see her in the school scene, which probably explains how she came to attend the ball. Hannah seemed particularly outspoken. I haven't seen another version where she was so vocally critical of wealthy neighbour Laurie.

Mr Laurence was very much the grandfather figure, especially to Beth - but I did wonder if he was supposed to look like a great-grandfather, rather than a grandfather. I liked the way Jo's literary ambitions were made clear but she seemed too possessive of Meg regarding John Brooke.

Having said all that - and while some of the scenery was not particularly convincing - the film has its good points. The costumes were very good - although everyone always seemed to be wearing hoops under their skirts. Personally, I preferred the costumes used in the 1994 version.

GLSILVA wrote: "After all the hype I had heard about the Jane Austin novel and different film versions of the book I found myself very disappointed with the movie."

GLSILVA-- Your review contains a glaring error which discounts your thoughts. LITTLE WOMEN is a Louisa May Alcott novel, not a Jane Austen work. If you missed this essential point, I am afraid you missed the gem of the story Ms. Alcott delivered via this particular version and lovely film adaptation of Alcott's classic.

Margaret O'Brien captures the essence of the sweet, good Beth. Her final scenes with Jo left me weeping. Laurie was one of my first literary crushes. As handsome as Peter Lawford was, I do wish they had casted younger for his role. June Allyson plays it younger than her years and is believable as the angst-filled, wild-eyed, young at heart, asked to grow up before her time writer Jo.

I hope watching this movie inspires people to read LITTLE WOMEN. Now THAT'S a story-- a film on paper. No actors needed. Alcott breathed these characters to life via words. I love watching the movie but there is nothing like this book if you want to experience a full-scale "cinematic" experience.

June Allyson was a very radiant actress. She had one of the brightest smiles of anyone that I've ever seen. June was also a very bright and bubbly person. She had a very distinctive voice and she is an actress who always makes me check out films if I see that she is in them. Although I don't consider myself to be a major fan of June's, I do like her very much and I greatly admire her acting talent.

My favourite of her film performances is as Jo March, in the 1949 film adaptation of the novel Little Women. This version and the one from 1994 are my favourite screen versions of this lovely coming of age story. These two versions capture the warmth and intimacy of the novel for me. I don't like the 1933 film version, as I think the actors in it(especially Katharine Hepburn)overact their roles something fierce and this spoils watching that one (for me anyway). I also think the 1933 film rushes the story quite a lot too.

In the 1949 film, June brings the character of the passionate and tomboyish Jo to life so well. June completely becomes this frustrated, warmhearted, outgoing, adventurous and passionate young woman. She also captures Jo's passion for writing and the joy that it brings her. As the film goes on Jo matures and grows into quite the young lady, and June really captures that change so well (watch her body language, emotions and mannerisms.) Compare how she acts in the first half of the film to how she is in the second half of the film.

June shows us that as Jo gets older she finally becomes more comfortable with being a woman and acting as her sisters do (properly, as was expected for the time period). Jo also finally accepts that it is okay to actually want to fall in love and be a wife, and she doesn't mind that change entering in to her own life as much as she did when she was younger.

Jo is still very much herself in the second half of the film, but she doesn't seek to shock or raise eyebrows with her behaviour as before. Jo still speaks her mind, but she becomes more tactful and respectful of tradition/custom when doing so. June conveys all of this to us through emotion, body language and expressions alone. It truly is a remarkable performance and is one that I never get tired of watching. I firmly believe that she gives one of her best performances as Jo March.

The 1949 film was directed by Mervyn LeRoy. The film features strong performances from all the younger members of the main cast: June, Janet Leigh, Margaret O'Brien, Elizabeth Taylor, Peter Lawford and Richard Stapley. Rossano Brazzi, Mary Astor, Lucile Watson and C. Aubrey Smith all provide solid support as the various adults in the sisters lives.

The story follows the lives of four sisters, from their childhood to their adult years. The film is set in New England. The March family consists of four sisters; there's the practical and beautiful Meg (Janet Leigh), the tomboyish and big hearted writer, Jo(June Allyson), the shy and gentle Beth (Margaret O'Brien) and the vain and funny Amy (Elizabeth Taylor).

The girls live with their mother (Mary Astor) and their loyal housekeeper Hannah (Elizabeth Patterson)while their father (Leon Aymes)is away fighting in the Civil War. Their only other relative is the wealthy and crotchety Aunt March (Lucile Watson).

The sisters are befriended by the lonely Laurie (Peter Lawford)their young neighbour who hates the restrictive life he leads with his grandfather (C. Aubrey Smith). Laurie becomes a great friend and source of comfort to the March family. As they grow up, Laurie falls in love with Jo, but she doesn't return his feelings.

Jo is against change, she hates it with every fibre of her being and she just cannot see why things can't stay as they are. Meg finds love with Laurie's tutor, John Brooke (Richard Stapley) and the two get married. I love watching their relationship develop, they also go on to have a very loving marriage where they are equals (which was rare I think for the time period).

Jo's refusal of Laurie's proposal later in the film breaks his heart. Jo goes to work as a governess in New York. While she is there, she finds herself falling in love, but with someone totally unexpected, the much older Professor Bhaer (Rossano Brazzi). When Jo and the Professor fall in love, Jo realises that this change in her life is not as unpleasant as she thought it once would be. A personal tragedy leads Jo to write a novel about her life with her sisters. It is published to great acclaim and Jo's hard work as an author finally pays off.

While Jo is undoubtedly the star role here, I think that the actresses playing the other March sisters all get their chance to shine throughout the film. To me Janet Leigh, June Allyson, Elizabeth Taylor and Margaret O'Brien all feel like an ensemble, and I don't think that they ever outshine one another too much.

Janet Leigh is terrific as the eldest sister, Meg. She makes you see that Meg would love to be pampered just once in her life. She has had to grow up before her time though in order to help her mother around the house.

Elizabeth Taylor is absolutely hysterical as Amy, the self centred, food lover of the family. Amy may be self centred but she loves her family deeply. She would do anything for her family and friends. Taylor steals every scene she is in.

Margaret O'Brien (one of the best and most natural of the classic era child stars)is heartbreaking as the fragile Beth. She is the sister beloved by all who meet her. She may be young, but she is very wise too.

Peter Lawford is very good as Laurie. He shows us how Laurie comes to life through his friendship with the March family and becomes as outgoing as they are. Lawford is heartbreaking in the scene where be admits his feelings for Jo, only to have his hopes dashed.

Rossano Brazzi (swoon!) 🙂 is utterly loveable as the patient, gentle and kind Professor. Watching him slowly falling for Jo is so sweet. Brazzi lets us see how much this man cares for Jo and how he also respects her as a woman and as a writer.

Mary Astor is almost saintly as the loving mother of the sisters. Astor plays her as the mother everyone deserves to have. She is kind, honest and wants her girls to be true to themselves above all else.

The great character actor C. Aubrey Smith steals every scene he is in, as Laurie's gruff, old fashioned and stern grandfather. Mr. Lawrence is actually quite a softie underneath that hard exterior. The scene where Beth thanks him for giving her the piano moves me to tears every time I watch this. Smith died shortly after filming his role in this and this was to be his final film.

I love the set design in this film especially for the interiors of the March home; that house really has the look of a lived in space, filled with personal items and it has a very warm and cosy look about it. The costumes are also beautiful, especially the ladies gowns. I especially love the yellow dress Amy wears when she visits Jo in New York. The films music by Adolph Deutsch is the prefect accompaniment to the story we are watching.

A lovely coming of age story, filled with strong and memorable performances. June is the films heart, and her performance in this is unforgettable.

My favourite scenes are the following. The girls buying Christmas gifts for themselves and then taking them back to exchange for gifts for their mum. The Professor singing in German and explaining the meaning of the words to Jo. Amy comforting Beth after they hear some horrible gossip about their family. Mr. March returning from the war and hugging each of his family. Laurie's proposal to Jo. Mr. Brooke proposing to Meg. Beth thanking Mr. Laurence for his gift to her of a piano. Jo and Laurie dancing. Jo revealing she has cut her hair short and sold it. Amy letting Beth have her last cake. Meg telling Jo off for her improper behaviour in public. Amy and Aunt March visiting Jo in New York.

This is a beautiful film about family, love and about being true to yourself. This is a comfort film/story for me and it is one I return to again and again. In terms of personality I see myself as a mix of Jo and Beth, and I can certainly relate to some of the choices these two sisters make and to their respective personalities.

I'd love to get your thoughts on this film. What do you think of June's performance as Jo? Please leave your comments below.

After 1918, Little Women was made for the large screen in 1933, 1949, and 1994. The truest adaptation – that is, true to Louisa May Alcott's book – seems to be made by George Cukor in 1933. That one, the starkest of the three, is the only version filmed in black and white. Among other stars it features Katherine Hepburn, Joan Bennett, and Spring Byington. The 1994 version, with Winona Ryder, Claire Danes, and Susan Sarandon, is colorful but not exactly a close adaptation. There is also a bit of late twentieth century cynicism; note Sarandon's feminist expounding. While all versions are enjoyable to watch, this writer's personal preference is the rather loose adaptation of 1949, which features Janet Leigh, Elizabeth Taylor, June Allyson, and Margaret O'Brien.

The story involves four loving sisters and their mother on the home front (picturesque Concord, MA) during the Civil War (circa 1863, but the story continues after the war). The indomitable Mrs. March ("Marmee" played by Mary Astor) does all she can to hold together her family while her spouse, a Union chaplain, is away. Sacrifices are made: firewood and lamp oil are scarce. An incongruity is that an attractive multi-level house, nice dresses, food aplenty, and a servant/cook seem to pass for near poverty. But, never mind. Among the sisters there are squabbles and scrapes, but also forgiveness and love. Jo March (June Allyson) is tomboyish and would fight on the battlefront for the Union if only she were allowed. A talented writer-to-be who loves literature, she is spirited, independent, and clumsy. Not wanting to see any family changes (conservative), she cries "Christopher Columbus" often. Meg (Janet Leigh), the oldest, is very beautiful. When Marmee is away, Meg, always proper and engaging, runs the household. Amy (Elizabeth Taylor) is attractive enough – but, unlike Meg – is also self-centered. She often confuses words, and likes to eat. The ill-fated Beth, played by Margaret O'Brien, is sweet and fragile. The youngest and shyest, she is frequently in ill-health (unlike Beth in the Alcott version where Amy is the unfortunate one).

There are quite a few characters, some of whom we will touch upon here. There is cantankerous Aunt March (Lucile Watson), a rich, opinionated, and temperamental widow, who disproves of the March family's less than rich-status and their humane ways. She abhors Meg's engagement to impoverished John Brooke. Theodore "Laurie" Laurence (Peter Lawford), a genuinely nice person with charm, lives next door to the girls in a mansion with his grandfather. Laurie's mother, an Italian musician, was not loved by his grandfather. Although Laurie's later marriage proposal is turned down by Jo, he is destined to find true love with another sister. James Laurence (C. Aubrey Smith) is Laurie's grandfather who is tough on the outside but melts on the inside when he meets the respectable and appealing March girls. Leon Ames plays Mr. March, who appears later in the movie. Professor Friedrich "Fritz" Bhaer (Rossano Brazzi), who later falls for Jo, plays an amiable German immigrant who once had money but is now rather broke.

Sure this 1949 version is rather loose, and the film is glossy; everything looks so pristine and colorful. For one thing, the girls always have neat hair and clothing (well, except for Jo, who stands too close to the fire!). Then again, the period of the 1860s was nowhere as sanitary as today, and we do not see any such things as chamber pots (thankfully). But the picture-postcard cinematography and set-decorations of 1949 are superior. Don't the season scenes remind one of Currier and Ives prints? If you can, freeze the frames of the multi-colored general store and see how everything is nattily arranged. The music score is pleasant and never overwhelming. June Allyson may be too old for her part and the girls do not seem to age over a four or five-year period, although most are about the right age at the story's end. The characters are certainly well-developed, and the innocence and flavor of a bygone era are nicely depicted. While the 1949 movie is a favorite, all three major versions are worth watching by anyone. Ignore the "chick flick" argument. After all, these ladies struggle to find their places in the world; they have their hopes and dreams and failures and successes. Will the three oldest sisters find love in the long run? It is worth watching to see how it all turns out in the end.

The original novel by Louisa May Alcott, released as two volumes in 1868 and 1869, is an enduring classic, and has produced a good number of film adaptations. Following 1917 and 1918 silent films, and the 1933 (first sound) version, this is the fourth feature film adaptation, the first in colour, directed by Mervyn LeRoy (Little Caesar, I Am a Fugitive from a Chain Gang, Mister Roberts, Gypsy). Basically, in nineteenth century Concord, Massachusetts, during and after the American Civil War, it sees the struggles and adventures of the four March sisters: Josephine "Jo" (June Allyson), Amy (Dame Elizabeth Taylor), Margaret "Meg" (Janet Leigh) and Elizabeth "Beth" (Margaret O'Brien), and their mother, affectionately known as Marmee (Mary Astor). The Marches live in a state of genteel poverty, as several years earlier their father (Leon Ames) lost the family's fortune to an unscrupulous businessman. While Mr. March serves in the Union Army, Marmee holds the family together and teaches the girls the importance of giving to those less fortunate than themselves, especially during the upcoming Christmas season. Spoiled and vain Amy often moans about the family's lack of material wealth and social status, but tomboyish Jo, an aspiring writer, keeps everyone entertained with her stories. The youngest March daughter, the shy and sensitive Beth, helps Jo with her productions, on often plays on the out-of-tune piano. The spirited Jo seeks companionship, she strikes up a friendship with Theodore "Laurie" Laurence (Peter Lawford), the grandson of the cantankerous neighbour James Laurence (C. Aubrey Smith). Mr. Laurence is impressed with Jo's forthrightness and her beneficial effect on the brooding Laurie, that he invites the March sisters to a fancy-dress ball at his grand house. At the ball, Meg is courted by John Brooke (Richard Stapley), Laurie's tutor, and Jo consents to dance with Laurie while Amy and Beth watch everything from the staircase. Mr. Laurence's grumpy nature is softened upon meeting Beth, who reminds him of his beloved granddaughter who passed away, he learns of her musical talent, he offers her the use of his grand piano. The beautiful evening ends on a sour note, however, when Amy and Beth overhear the snobbish Mrs. Gardiner (Isabel Randolph) and her daughter gossiping about Marmee. As the weeks pass, Laurie's affection for Jo grows, but Jo claims that she loves him as a friend and will never marry him. Meanwhile, Jo worries that the bond between the sisters will be broken if Meg pursues her feelings and marries Mr. Brooke, she attempts to discourage her. When Spring comes, Marmee receives word that Mr. March has been wounded and sent to an Army hospital in Washington, D.C. The girls are left in the care of wealthy Aunt March (Lucile Watson), but they struggle to get by, forcing Jo to cut off her beautiful locks and sell them. While carrying out Marmee's work for the poor in her absence, Beth contracts scarlet fever, and the distressed and frightened sisters realise how much they depend upon Marmee. Beth's fever breaks, and Marmee returns, with Laurie arranging a surprise return by Mr. March. A few months later, Meg marries Mr. Brooke and Laurie asks Jo to marry him, but she turns him down, explaining that she is uncomfortable in high society and wishes to devote her life to writing. The disappointed Laurie leaves for Europe, and Jo, saddened by losing both him and Meg, moves to New York to pursue her career, while living in a boarding house. Jo meets German tutor Professor Bhaer (Rossano Brazzi), who introduces her to art museums and the opera. Jo bursts into tears when Bhaer criticizes her work and is hurt when Aunt March takes Amy instead of her on a trip to Europe. After consoling Jo, with whom he has fallen in love, Professor Bhaer advises her to write from her heart. Jo decides to return home where she is needed, for Beth has become deathly ill. Jo stays in the nearly empty March household and cares for the brave Beth who suffers without complaint. After Beth's death, Jo writes a novel expressing her grief, while Meg, now a mother of twins, gently informs Jo that Laurie and Amy have fallen in love in Europe and are to be married. Although Jo is happy for the couple, she realises for the first time how lonely she is and how much she wishes to be loved. A few weeks later, married Laurie and Amy return, and the Marches joyfully celebrate the family's reunion. Professor Bhaer interrupts the festivities and arrives with Jo's novel, which he has had published. But Bhaer mistakenly assumes that Jo has married her friend Laurie and politely declines his invitation to join the party and departs. Jo catches up to him and confirms his mistake, the two embrace and he proposes marriage. Jo happily accepts, then leads her future husband back to the warmth of the house, where her family awaits them. Also starring Elizabeth Patterson as Hannah, Harry Davenport as Dr. Barnes and Ellen Corby as Sophie. Allyson does very well as the boyish sister, Taylor and Leigh are also very good, and O'Brien is fine, it is fair to say that the source material is probably more stern than this movie suggests, but there is nothing wrong with charming the audience with great performances and a fabulous use of colourful costumes and sets, a most worthwhile coming-of-age period drama. It won the Oscar for Best Art Direction-Set Decoration, and it was nominated for Best Cinematography. Good!