TheLittleSongbird I will always have a soft spot for this film, and to me it is the best version of the three versions I've seen so far of Little Women(1994 and 1949 were the others, and I liked both of them very much). The sound here is a little too tinny, and the Laurie of Douglass Montgommery is too fey for my tastes. However, it still looks beautiful, the costumes and hairstyles are well suited to the period, the sets are sumptuous and the film is very handsomely shot. There is also a stirring score from Max Steiner, making it sound appropriately nostalgic, the script is faithful and warm-toned, it is directed with great taste by George Cukor and the story has all the warmth and poignancy of the book, which is one of my favourites of all time. Apart from Montgommery I loved the acting, Edna May Oliver here does what she did best, more than convincingly play sharp-tongued spinsters, and Henry Stephenson is a dear Mr Laurence. Paul Lukas is an unexceptional but romantic Professor Bhaer, an improvement on the wooden and too-Italianate Rosanno Brazzi in the 1949 film, and Spring Byington a Marmee of real sincerity. The four March girls Meg, Jo, Beth and Amy(aka the Little Women of the title) are what drive the story, and all four really shone here. Joan Bennett is appealing as Amy and leaves room for character growth from a vain little girl to an elegant young lady. Jean Parker is a very sweet and moving Beth, and Frances Dee is beautiful as Meg should be. Best of all is the Jo of Katharine Hepburn, who is perfectly cast in a role she was born to play. All in all, truly lovely and the best version to me. 9/10 Bethany Cox

kenjha 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.

Not Telling I saw this film for the first time today after searching forever for it. And I was not disappointed like I was with the 1949 one with Elizabeth Taylor and Margret O'Brien. I am a great fan of the book and as such there were some things that irked me about this film. First off, there was heaps of Amy story lines and dialogue the most apparent being how she burnt Jo's written work and books, and then later nearly drowned (only to live after Laurie and Jo saved her) were left out which made me slightly mad. Also the fact that the actress was too old to play the younger Amy (but nonetheless played her very very well) was also slightly distracting though didn't nearly as bother me as much as the missing 'book burning scene'. Secondly some things were hastily rushed into and/or not really explained or came out of nowhere like how Amy and Laurie were suddenly married, with out much back story to it. Katherine Hepburn one of the most talented actresses of all time, shines as Jo in her tom boyish ways. She literally stole the show with her acting and it was truly a joy to watch, her scenes with Laurie were the most wonderful as you could really sense their 'fun and childlike' plays. She picked up Jo's character in a way no other actress could. It seemed like the character 'Jo' and 'Katherine Hepburn' were made for each other. It's rare to find that. When I first heard Frances Dee was playing Meg I thought, 'What?? She's more of a Beth!' but nevertheless she surprised me and was absolutely wonderful in her role. The actress who played Beth was astounding, her scenes were so well done, she was such a dear and you really care for her while you're watching. I loved Douglass Montgomery as Laurie he played Laurie very well and very true to the character. Not the most perfect adaption a lot has been changed and left out, but one of the best, most beautiful films you'll ever see in your life time. Heart warming and lovable, a real classic.

lugonian LITTLE WOMEN (RKO Radio, 1933), directed by George Cukor, from the novel by Louisa May Alcott, ranks one of the very best screen adaptations taken from classic literature. Produced by David O. Selznick, who later brought forth such literary works as David COPPERFIELD and A TALE OF TWO CITIES (MGM, 1935) to the screen, LITTLE WOMEN demonstrates to the highest degree on how carefully constructed these movies were made and the way its leading players have brought these storybook characters to life.Set during the Civil War years, the story revolves around the March family of Concord, Massachusetts. The plot development starts with the introduction of its individual members: Marmee (Spring Byington), a loving wife and mother who does all she can to keep her family together while her husband (Samuel S. Hinds) is off to war; Josephine, better known as Jo (Katharine Hepburn), a long haired, outspoken tomboy with a catch phrase, "Christopher Columbus!," whose ambition is to become famous novelist; Amy (Joan Bennett), a student in a school for girls, is cute, selfish, and a sketching artist; Margaret, or "Meg" (Frances Dee), a refined but envious girl working as a nursery governess; Beth (Jean Parker), the youngest of the sisters, is sweet, shy and a musically inclined piano player of classical pieces; and Aunt March (Edna May Oliver), an rich old spinster who's just as headstrong as her niece, Jo. The March family live next door to Mr. Laurence (Henry Stephenson), a gruff but kindly old gentleman, whose grandson, Laurie (Douglass Montgomery), becomes Jo's first love. Over the years the girls mature, finding new interests and beaus. Laurie returns home from college finding Jo's feelings towards him have changed; Meg finds love and marries John Brooke (John Lodge), a sophisticated gentleman; Amy matures and falls in love with Laurie; while Beth becomes the center of a crisis when falling ill with scarlet fever. As for Jo, she moves to a boarding house in New York City where she encounters Fritz Bhaer (Paul Lukas), a kindly professor who encourages her writing ability.While it's impossible to recapture every page of "Little Women" to the screen, screenwriters Sarah Y. Mason and Victor Heerman successfully abridged many of the key elements taken from various chapters, with a few alterations, into playable length of 116 minutes. Previously filmed during the silent era (1918) and remade several times thereafter (1949 for MGM; 1978 television movie; and 1994 Columbia theatrical adaptation), this 1933 carnation remains one of the perennial favorites of all time, and it's easy to see why. Full of nostalgic touches, from its opening credits with a silent movie feel, authentic costumes and hair styles that capture the era, George Cukor's masterful direction with taste and skill brings forth winning performances by entire cast, especially Katharine Hepburn, in a role she was born to play. Although Hepburn's Jo is tough as well as confident, her biggest fear is letting go of her childhood, wanting things to remain as they are, continuing to have those carefree happy times with her sisters. She realizes how impossible it is after Meg, the eldest, marries to have a family of her own. ("We can't be children forever.") Joan Bennett also does a commendable job transforming from child-like schoolgirl to mature young lady; and Spring Byington, best known for her lovable comedic characters in latter years, in her movie debut and one of her few opportunities on screen as a serious actress. Last but not least is the memorable Max Steiner underscore.When presented to commercial television during the Christmas season from the 1960s to 70s, all copies in circulation were shorter 107 minute prints. Aside from the Selznick International trademark in place of the original RKO Radio logo, the opening ten minute segment was missing, starting the story with Beth greeting her three sisters at the front door as they come in from the cold. This missing sequence was later restored in the 1980s when distributed to video cassette. The introductory RKO Radio logo was finally restored and presented for the first time in decades on Turner Classic Movies in 2006.Little known facts: LITTLE WOMEN brought forth a sequel, LITTLE MEN (Mascot, 1935) with Erin O'Brien Moore as Jo. In TCM's December 2006 presentation of LITTLE WOMEN on "The Essentials," in an after film discussion, movie critic Molly Haskell talks with host Bob Osborne making an interesting point about Jo's character from the book marrying and giving up her writing career as compared to Hepburn's more liberated Jo on screen.While LITTLE WOMEN is categorized a Christmas movie, for which it opens and ends years later during that joyful holiday season, it's one of those heartfelt family films that can be seen and appreciated at any given time of the year. (****)