At first, I rejected this movie, mainly because I didn't like the two main characters Ronan and Sweet Tea, but I went to the cinema to watch it in order not to waste free movie tickets, but I was rejected by Greta Gerwig's script and The language of the film is deeply moving. The splendid and colorful youth in the film and the gloomy depression in the real world, the joys and sorrows and social difficulties of women's growth, all made me, a middle-aged woman who has experienced social vicissitudes of life, burst into tears. Whether happiness is an ordinary family that is warm and lively, or a rich person who is lonely, whether to get married for money or for love or not to get married, everyone has their own answers, and there is no need to agree on who is right and who is wrong, who is good and who is bad. Because everyone has the right to pursue their own definition of happiness.
At the end of my brief personal impressions, the following are some of the dialogues that touched me the most from the English script (the beginning of each paragraph is supplemented with a general translation).
Qiao vs Auntie (Women who have money can of course choose not to get married, but there are not many ways for women to make money except marriage; a married woman does not care what she likes, her husband may care more about the liberation of all mankind than his own family )
JO: I intend to make my own way in the world.
AUNT: Oh well. No one makes their own way. Not Really. Least of all, a woman. You'll need to marry well.
JO: But you are not married.
AUNT: That's because I'm rich. And I made sure to keep hold of my money. Unlike your father.
JO: So the only way to be an unmarried woman is to be rich?
AUNT: Yes.
JO: But there are precious few ways for women to make money.
AUNT: That's not true. You could run a cat house. Or go on the stage. Practically the same thing. Other than that, you are right. Precious few ways for women. Tha'ts why you should heed me.
JO: So I can get married.
AUNT: No. So you can live a better life than your poor mother has.
JO: But Marmee loves her life.
AUNT: You don't know what she loves. Your father cared more about educating freedmen's children than he did about caring for his own family.
JO: Yes, but he was right.
AUNT: Well, it's possible to be right and foolish.
Laurie vs Amy (I'm not a poet, I'm a woman, so I have no means of earning money to support my family; even if I had money, it would become the property of my husband and children after marriage; so don't tell me that marriage is not a financial proposition, because it is indeed true, even if it is not for you, it is certainly true for me)
LAURIE: I understand queens of society can't get on without money. But it does sound odd coming from one of your mother's girls.
AMY: I've always known that I would marry rich. Why should I be ashamed of that?
LAURIE: There is nothing to be ashamed of, as long as you love him.
AMY: Well, I believe we have some power over who we love, it isn't something that just happens to a person.
LAURIE: I think the poets might disagree.
AMY: Well. I'm not a poet, I'm just a woman.
And as a woman I have no way to make money, not enough to earn a living and support my family.
Even if I had my own money, which I don't, it would belong to my husband the minute we were married. If we had children they would belong to him not me. They would be his property.
So don't sit there and tell me that marriage isn't an economic proposition, because it is.
It may not be for you but it most certainly is for me.
Joe vs May (Just because my dreams are different from yours doesn't mean my dreams don't matter)
JO: And you, you should be an actress and have a life on the stage. Let's run away together.
MEG: I love him. I want to get married.
JO: You will be bored of him in two years and we will be interesting forever.
MEG: Just because my dreams are not thesame as yours doesn't mean they're unimportant.
Mom vs Joe
MARMEE: What is it?
JO: Perhaps... perhaps I was too quick in turning him down.
MARMEE: Do you love him?
JO: If he asked me again, I think I would say yes... Do you think he'll ask me again?
MARMEE: But do you love him?
JO: (tearing up) I know that I care more to be loved. I want to be loved.
MARMEE: That is not the same as loving.
JO: (crying, trying to explain herself to herself) Women have minds and souls as well as hearts, ambition and talent as well as beauty and I'm sick of being told that love is all a woman is fit for.
But... I am so lonely.
Joe vs Amy (It's not that you write it because it matters, it matters because you write it)
JO: Who will be interested in a story of domestic struggles and joys? It doesn't have any real importance.
AMY: Maybe we don't see those things as important because people don't write about them.
JO: No, writing doesn't confer importance, it reflects it.
AMY: I'm not sure. Perhaps writing will make them more important.
JO: (looking at her, amused) When did you become so wise?
AMY: I always have been, you were just too busy noticing my faults.
Editor-in-Chief vs Joe (beginning: you want to keep the story short and concise, and if the protagonist is a woman, make sure she ends up getting married, or dying)
DASHWOOD: We'll look at it. Tell her to make it short and spicy. And if the main character's a girl make sure she's married by the end. (casually) Or dead, either way.
JO: Excuse me?
Editor-in-Chief vs Joe (ending: marriage is an economic proposition, not romance) DASHWOOD: Frankly, I don't see why she didn'tmarry the neighbor.
JO: Because the neighbor married hersister!
DASHWOOD: Right, of course. So, who does she marry?
JO: No one. She doesn't marry either of them.
DASHWOOD: No. No, no, no, that won't work at all.
JO: She says the whole book that she doesn't want to marry.
DASHWOOD: WHO CARES! Girls want to see women MARRIED. Not CONSISTENT.
JO: It isn't the right ending.
DASHWOOD: The right ending is the one that sells.
DASHWOOD: If you end your delightful book with your heroine a spinster, no one will buy it. It won't be worth printing.
JO: I suppose marriage has always been an economic proposition. Even in fiction.
DASHWOOD: It's romance!
JO: It's mercenary.
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