The Soundtrack Space: Little Women

Little Women (2019), directed by Greta Gerwig, is one of my all-time favourite films. It follows the trials and tribulations of the four March sisters: Meg, Jo, Beth, and Amy. With a mixture of hilarity and tear-jerking moments, it is truly a wonderful watch. Alexandre Desplat’s composition makes for one of the most beautiful soundtracks, in my opinion, and really makes the film so special. It perfectly captures the atmosphere of the film through the use of piano and strings.

Desplat dedicates specific themes to certain characters, which helps to inform their personalities. For instance, ‘Laurie’ plays at the moment we are introduced to Timothee Chalamet’s Laurie, in a slow-motion shot that captures his ‘heartthrob’ status. The bouncing rhythm sounds whimsical and romantic. This juxtaposes with ‘Friedrich’, which uses lower notes to create a more masculine-sounding melody. Friedrich comes across as more of a ‘man’ than Laurie in Desplat’s soundtrack. Moreover, in her eponymously titled track, Amy sounds youthful and naïve, solidifying her status as the immature youngest daughter and ‘baby’ of the family; nevertheless, the audience sees how she matures throughout the film.

Desplat often uses a repeated motif throughout the film, slightly altering the pace or pitch depending on the feeling of the scene. In ‘Christmas Morning’, the motif sounds comforting and peaceful. In ‘Plumfield’, however, the motif is used at the end, but in a slowed version, making it sound subdued in tone.

Playful-sounding pieces contrast with serious tracks that overlay scenes where there is a real sense of danger

‘Dance on the Porch’ provides the soundscape for an iconic scene in which Jo and Laurie escape the party and dance exuberantly on the porch outside. This playful track encapsulates the joy of the scene, as the characters are free to be themselves outside of the confines of the party. It is perfectly in step with Jo and Laurie’s movements, conveying their energy. This contrasts with other scenes that show them older and more mature, when they no longer act as free as they used to be, and the soundtrack reflects this change by being more traditional and understated.

Playful-sounding pieces contrast with serious tracks that overlay scenes where there is a real sense of danger. An example of this is the track, ‘Ice Skating’, which begins as a joyful piece of music, but crescendos to demonstrate the increased suspense of the scene as Amy is put in a situation of tangible danger. This is one of the rare points of the film where danger is portrayed on screen, so Desplat’s shift in tone here effectively highlights the importance of this moment.

‘Jo Writes’ starts off with a meandering pace, but this escalates as Jo’s writing process becomes increasingly feverish as she attempts to complete her novel. The overlapping piano melodies get more frantic. This sense of urgency is resolved by the end of the piece, with the closing notes providing a sense of finality as Jo looks on at her finished manuscript.

The mixture of joyous melodies, melancholic sounds, and pieces that capture the feeling of falling in love make this one of the best soundtrack albums

‘Father Comes Home’ sounds different from other pieces in the Little Women album as it opens with strings rather than piano. It sounds more classical and traditional, perhaps reflecting the father’s age and status within the home. When the piano melody enters it is soft and slow, imbuing the piece with emotional value. It is a heartfelt moment, as we see Mr March, who has been absent throughout the film, return to the family.

My favourite piece from the Little Women soundtrack is titled ‘It’s Romance’ and is featured near the end of the film, when Jo and Friedrich confess their love for each other. Desplat perfectly captures the urgency of the moment Jo rushes to the train station through the pace of the rhythm – you can almost feel the time ticking away. Then, you get the emotional payoff of an incredibly romantic kiss in the rain, soundtracked by a beautiful sweeping melody.

Alexandre Desplat’s soundtrack for Little Women remains a firm favourite of mine. The mixture of joyous melodies, melancholic sounds, and pieces that capture the feeling of falling in love make this one of the best soundtrack albums.