Like Keira Knightley before her, Saoirse Ronan appears to have been typecast. While Knightley shone in period pieces, a vision in lavish costumes, Ronan is but a couple of centuries ahead of her. A reason for this might be her face. Saoirse Ronan has sad eyes, eyes that tell you a thousand tales by just staring at you. Her face projects weary innocence and unexpressed dreams. Maybe that’s why she keeps appearing in films about early America and Britain: she’s the personification of those countries during those periods of time. Where everything seemed possible if we could but put the past behind us.
In Little Women, she’s as good as always. There’s a moment in which she delivers a heartfelt protestation on the expectations of women, while mourning her own loneliness, that is deeply genuine and so sad.