2-3. Oddly I didn't really care for it. There are certain moments with a lot of affect like Jo's first teary reaction to Meg parting with Mr. Brook. But I think the 'invisible style' actually kind of strangles the feminine fantasy aspect of the story. I don't care that much for Hepburn as a lead. And the age-illusion costumes take me out of the movie. The plot is a bit 'Lifetime', too.
Perhaps ****1/2 Cukor uses thresholds--doorways, staircases--remarkably, and uses tracking shots to thrust or pull players onto his cinematic stages, or to accent character movement. Like all the Cukors I've seen, self-reflexion is everywhere--short stories, plays, drawings-- always calling attention to the jubilation which comes with creating. Hepburn is, as always, the main attraction(as she must be).