Besides, a graphic novel version released last year already reimagined the characters as “ blended, multiracial and LGBTQ inclusive.” With nearly a dozen versions of Little Women listed on IMDB, one hopes for some variation between them, but with Hollywood still in the grips of an epidemic of diversity-soaked revamps of classics in which beloved characters are replaced with PC stand-ins, Gerwig should be applauded for not giving in to the temptation to follow the leader. Sure - if we’re totally discarding the material, why not remake it with creepy CGI cats next? Critic’s privilege lets the social-justice vultures remake the director’s work in their image. Also on rt.com Iron Man is now a black teen girl: Forced diversity is killing Marvel & DC comics but anti-SJW writers are fighting back
“ A Little Women film that completely suspends disbelief and racebends every character seems entirely possible, and would have been major in terms of on-screen presentation,” she gushes. It worked for Lin-Manuel Miranda with Hamilton! But because Gerwig neglected to flesh out one male character’s backstory from the novel onscreen, she should have given up any attempts at remaining faithful to the period, critic Natalie de Vera Obedos insists. Sure, the “ women” in Little Women are almost all members of the same family, so replacing just one of the sisters with a black actress would look a little strange. Uber-woke Teen Vogue puts Little Women up against the wall as a stand-in for all adaptations of classics which have the gall to retain the original characters, instead of replacing as many as possible with oppressed minorities. Once upon a time, reviews were consulted to determine the quality of a film now they merely provide an overview of its social justice bona fides - and the writers want you to know that there’s nothing you can do about it. Little Women has both liberals and conservatives seething over filmmaker Greta Gerwig’s choice to avoid overtly shoehorning contemporary politics, race relations, and more of the critical catnip that reviewers have come to demand into Louisa May Alcott’s saga of an impoverished Civil War-era family of girls coming of age in 19th-century America.īy whining that the film’s struggling (but white!) characters are “ too privileged,” these critics - knuckles white from fervent pearl-clutching - have merely put their own insatiable privilege on display.
The latest film adaptation of Little Women has been savaged for failing to check the required inclusivity boxes, but critics slamming the “too white” film for its egregious displays of “privilege” have missed the point of cinema.
0 kommentar(er)
