Greta Gerwig’s debut as a writer and director, Lady Bird, was a largely autobiographical story of her own teenage years in Sacramento, with Saoirse Ronan in the lead role as Gerwig’s fictional stand-in. Ronan repeats the performance in a way as Jo March in Gerwig’s generally wonderful adaptation of Louisa May Alcott’s beloved novel Little Women, helping with the framing device Gerwig uses to tell the story in a nonlinear way… although Ronan here is completely upstaged by one of her own (fictional) sisters.

Little Women was itself an autobiographical novel of Alcott’s own upbringing in Massachusetts, telling the story of the March sisters, Meg, Jo, Amy, and Beth, who live with their mother Marmie and housekeeper Hannah while their father is away serving as an army chaplain during the civil war. The book, published here in two parts (and, in something I just learned, still sometimes seen abroad as Little Women and Good Wives), covers a period of about four years that sees the girls through courtships and tragedy, finally ending with three of the girls marrying and – there’s no way you don’t know this – one of the four dying of complications from scarlet fever. It was an immediate commercial success, spawning two further sequels (which I’ve never read), and remains a favorite for young readers today, in part because it’s one of the only novels of its century that truly focuses on its women, both as unique, well-developed characters themselves, and as women in a highly restrictive, patriarchal society.

The framing device Gerwig uses wears out its welcome a little quickly, especially given some of the abrupt transitions between past and present. She splits the time period across the seven years between Beth’s illness and her death, using different lighting and, eventually, a different haircut for one character as ways to distinguish between the periods, but some of the scenes don’t have enough time to develop fully because the next cut yanks you out of that moment and into a different one entirely. The shot of Jo grieving at her sister’s grave ends way too quickly and transitions to a scene of relative mirth that I think robbed the former of some of its power. There’s probably a good way to tell this story in a nonlinear way, still using the motif of Jo writing her great novel about her family as the framing device, that doesn’t make some of the intervening scenes so terse.

Beyond that, however, this film is just great, anchored by so many wonderful performances that it’s hard to identify just who is carrying what. Ronan is very good as Jo, although of course she is far prettier than Jo is ever described on Alcott’s pages, and particularly excels in any scene where she gets to crank up her emotions in any direction – and in her scenes with Laurie, played rakishly by Timothée Chalamet, who might as well have been born to play this young bachelor on the road to roué. But Florence Pugh is the biggest star here as Amy, a character who gets more emotional growth in the movie than she does in the book, going much farther from snotty younger sister to a young woman aware of how little the world might value her, fighting for any agency she can find. Pugh isn’t the lead, but I think she’s more important to this movie than anyone else.

Laura Dern might win Best Supporting Actress for her turn in Marriage Story, but I liked her performance here as Marmie even more – she’s the original supermom, showing the patience of a saint, and delivering one of the best and most memorable lines in the movie when Jo asks why she’s never angry. Bob Odenkirk is only in the film briefly as Mr. March, but he’s wonderful and is fast becoming one of my favorite character actors, even when the role requires little or no humor at all. Chris Cooper is delightful as Laurie’s grandfather; Meryl Streep does quite a lot with Aunt March, even though the character has maybe one and a half notes to her. Even Tracy Letts has a minor role as Jo’s publisher, and he’s the perfect amount of grump for the job.

And then there are the other two sisters, Meg, played by Emma Watson, and Beth, played by Eliza Scanlen. Watson just seems miscast here, speaking with a sort of affected precision that doesn’t line up with Meg, who truly wants the life of domesticity for which she’s destined. Scanlen, though, is just plain weird as Beth, who is also written strangely – made more infantile on the screen than she is on the page, which becomes particularly offputting when Beth is 13 and 14 in the earlier time period and she’s portrayed by an actress who is 21. Meg’s character isn’t that critical to the film, but Beth’s is, and the portrayal here is a bit jarring.

The ending Gerwig cooks up is rather sublime, and a welcome departure from authenticity. Jo is even more Alcott here than she ever could be in the novel, and Gerwig slips in some details from Alcott’s life to spice things up a bit, making her a shrewd negotiator and getting us to the big finish with a metafictional flourish for the ages. It’s not faithful to the source material, but given how problematic Jo’s literary marriage – which Alcott apparently wrote under duress from her publishers – is for the novel and her character, this is a substantial improvement.

We’ll find out the Oscar nominations the same morning I post this, but I’m guessing we’ll get Best Picture, Best Actress (Ronan), Best Supporting Actress (Pugh), Best Costume Design, and Best Adapted Screenplay, with maybe even money on Gerwig getting a Best Director nod. We’ll see if the backlash against the Golden Globes’ all-male director slate helps Gerwig at all; (I’m assuming three slots are locks, for Scorsese, Tarantino, and Mendes, with Boon Jong Ho a good shot at the fourth.) It’s not Best Picture, but it’ll certainly end up in my top 10 once I’ve finished the various candidates from 2019; as long as Pugh gets a nomination, though, I’ll call that a win for the film.