1) I hate the bland description "coming of age", but it's the best I can do here.
2) The pacing is absolutely killer, and among the best I've ever seen.*
The introduction to the script describes it this way:
The adaptors made use of a large variety of episodes, with sudden changes of pace within the individual scenes. These contrasts increase the drama and add to the suspense, because, in effect, they advance or retard the aims of the main character. Even the most casual events are so arranged as to emphasize these contrasts. For instance, the gay spirit that pervades the Christmas breakfast scene is suddenly changed to one of sympathy for the plight of a more unfortunate family...p. 214.There's no formula, but the writers varied the pacing FOR SPECIFIC REASONS:
➤Sometimes they wanted the uncertainty first (fast; What will the party be like?)
--> Quiet moment in the middle (slow; Will Beth get over her shyness?)
--> Then a happy note at the end (fast; We're all friends now!)
➤Sometimes they had a happy scene (fast; Jo and Laurie) --> Then end on a somber note (slow; Jo leaves for the city).
➤Sometimes the writers wanted to stretch the tension (slow-slow) --> Then suddenly release the tension (fast-fast). Note the stretch below with Amy and Mr. Davis --> then release after leaving Mr. Davis.
ex. "SCHOOLROOM - CLOSE SHOT. Amy is sobbing. Davis turns over the slate which has cartoons of himself on one side of it.
DAVIS (angrily): I can see there's nothing for me to do but stop by and show your mother how, instead of doing your sums, you cover your slate with sketches -
INSERT: SLATE with sketches of spectacled teacher, and legend: "Young ladies, my eyes are upon you."
DAVIS: -- most uncomplimentary sketches.
SCHOOLROOM - MED. CLOSE-UP DAVIS, looking down, sternly. Amy is heard sobbing.
CLOSE-UP AMY looking up in his direction, sobbing as she pleads:
AMY: Oh, please, Mr. Davis. I'll never do it again, sir. And she'd be so disappointed in me. Please -
MED. CLOSE-UP DAVIS looking odwn in Amy's direction. He relents.
DAVIS: Well I should hate to spoil her Christmas and for that reason alone, young lady, I shall overlook it.
CLOSE-UP AMY looking up in his direction, delightedly.
AMY: Oh, thank you, Mr. Davis!
MED. CLOSE-UP DAVIS looking down.
DAVIS (sternly): You may go!
CLOSE SHOT as Amy speaks gratefully:
AMY: Oh, thank you, Mr. Davis.
He exits as CAMERA FOLLOWS HER as she backs away toward the cloakroom, still speaking.
AMY: Thank you very much indeed. Thank you, sir. (She starts to open door.)
HALL CLOAKROOM - CLOSE SHOT. The girls are standing about waiting in excited speculation as to Amy's fate. Amy enters, drying her tears. The girls close the doors and swoop down on her, all talking at once and asking: "What did he do?" "What did he say?"
AMY (with lofty disdain): I just said that if I ever told my mother the way he treated me, she'd take me out of his old school. She's never been reconciliated anyway, since my father lost his money, and she's had to suffer the degarradation of me being thrown with a lot of ill-mannered girls -- (she turns at the door, drops some of her elegance, and gives it to them straight:) -- who stick their noses into refined people's business! (She leaves them flat. They look after her, then turn to each other and murmur indistinctly.)
WHAT I'VE LEARNED: Change of pace = Changes as the protagonist advances/retards his/her progress.
It's also invisible, like rhythm, but very much felt by the reader.
Little Women (1949)
by Sarah Y. Mason & Victor Heerman
Adapted from the novel by Louisa May Alcott
* After all, this was written for George Cukor and Katherine Hepburn.