Die kleinen Füchse

Besides a very strong cast and an interesting story, this carefully crafted drama also has many subtleties that make it satisfying to watch, and even more so on repeat viewings. It is still among the better movie depictions of the effects of greed and materialism, and it has lost none of its effectiveness or believability.

Several things work together to make "The Little Foxes" a worthwhile classic. The cast could hardly be improved upon, with the great Bette Davis taking center stage with a role that has her in her element, Herbert Marshall in a role ideal for him, and the supporting roles filled by talented performers who are themselves, in most cases, very well-cast.

The script, likewise, is a well-conceived and well-paced adaptation of the Lillian Hellman play. Finally, William Wyler and his crew piece everything together effectively. Wyler might not be the kind of director who draws a lot of raves for innovation or experimentation, but when he has a good cast and good material, he knows how to make it work.

One of the movie's several noteworthy features is the pace. Much of the first half seems to move quite slowly, and much later the pace of events begins to build steadily. The first part contains many less obvious touches that fit together well, so it is worth watching carefully, even if parts of it seem slow. In the second part, the characters' cat-and-mouse games and attempts to outwit each other come to a head, resulting in some compelling moments.

It might be even more satisfying to watch after you have already seen the movie once, because the numerous subtle points that help to establish the characters then come out more clearly, and the way that things fit together is also easier to see. In any case, it is a classic that has held up well.

Lillian Hellman's The Little Foxes went from Broadway to Hollywood after it ran 410 performances in the 1939-1940 season through the good offices of Sam Goldwyn. Five members of the Broadway cast came west and repeated their roles, Patricia Collinge, Carl Benton Reid, Charles Dingle, Dan Duryea, and John Marriott. But the lead part of Regina Giddens which gave Tallulah Bankhead her career role on Broadway went to a proved movie name, Bette Davis. Bette then made the part all her own.

Davis is the sister of Ben and Oscar Hubbard, Charles Dingle and Carl Benton Reid. They are a family of trades people, poor white trash in those halcyon years in the South before the Civil War. When the war laid the genteel planter class low, these are the people who prospered and became what was euphemistically entitled 'the new South.'

They're a tough and ruthless family, but they are survivors though the next generation shows little promise because Dan Duryea who is the son of Reid and Patricia Collinge is an idiot and Teresa Wright, the daughter of Davis and Herbert Marshall will be rejecting the values of the previous Hubbard generation.

I don't think Lillian Hellman's Marxist leanings were ever more prominently on display in her writing as in The Little Foxes. Though the characters she creates are brilliant, the elder Hubbards are a rather heavy handed symbols for greedy capitalism. It's not quite clear where Teresa Wright and her suitor Richard Carlson will be on the political spectrum having rejected Hubbard family values.

The plot of the play itself is that Dingle and Reid are ready to invest in a cotton mill with northern businessman Russell Hicks. But they need more money which they're hoping Marshall and Davis will provide. That leads to all kinds of complications, legal and moral for the family.

Hellman left it open as to what will happen. My guess is that she honestly didn't know. Like most Marxists of the day, especially American Marxists, they sat and waited for the great come and get it revolution like fervent Pentacostals waiting for the Judgement Day. Wright in fact wishes for a society where people like her mother and uncles don't run things.

Sadly and this is the weakness of The Little Foxes is that Hellman drew her characters too well. I'd be willing to bet that Ben and Oscar would find a way to wind up Commisars if they had been transplanted into Russia during the revolution. Idealists had a short life span in the early days of the Soviet Union, never more so than after Joseph Stalin took over. Whatever else they are, the Hubbards ain't idealists.

Still The Little Foxes is a riveting drama that will keep your interest through the whole film even if you don't buy the message totally.

Bette Davis stars as Regina Giddens in this film version of Lillian Hellman's smash hit play (which starred Tallulah Bankhead). This tale of the pre-industrial south of 1900 pits Regina against her greedy brothers as they scheme to open a textile mill that will make them rich. Great performances here from Davis, Herbert Marshall, Teresa Wright, Richard Carlson, Charles Dingle, Patricia Collinge, Dan Duryea, Jessie Grayson, and Carl Benton Reid. Sort of a modern King Lear, but Hellman had a wicked ear for acid dialog and her characters each have moments of grandeur as they spit and snarl. Collinge is very good as pitiable Birdie. Wright and Carlson are especially good as the young lovers, and Duryea gives a wonderfully slimy performance. Dingle has his best role as the smart brother, and Marshall--always underrated in Hollywood--is splendid as Horace. Bette Davis gives a controlled and icy performance as the woman who never gets what she wants. Her final scene from the window as she watches her daughter leave in the rain is a classic. Great film about a dysfunctional family before there even WAS such a thing!

This film fully deserves its reputation as one of the most scorching dramas of greed and corruption ever placed on celluloid. A deceptively slow start soon draws into the machinations of the Hubbard clan whose brazen backstabbings and betrayals even today make our jaws drop. Davis' stunning portrayal of the supremely grasping Regina Giddens leads a stellar cast which does a superb job of delineating a finely drawn group of characters. Charles Dingle's deceptively warm smile masks the cooly intelligent deviousness of Ben Hubbard. Carl Reid's Oscar Hubbard is just as malicious but his inferior intelligence makes him yield to his brother's and sister's lead. Dan Duryea nicely portrays the imbecilic and immature Leo Hubbard, a characterization which borders on but never crosses over into comedy. Patricia Collinge breaks our hearts as the broken-spirited and alcoholic Birdie, Oscar's wife. Herbert Marshall's performance as the doomed Horace, Regina's husband, delineates the pain, anger, and sense of betrayal burning beneath his deathly illness. The star of the proceedings, however, is clearly Davis. Wyler's superb direction blends all these characters into a masterful whole.

Hellman's skill as a dramatist must be credited for much of this, but her Marxist inclinations clearly peep through the seams of the dialogue.

I'm glad I finally had a chance to see this undoubted classic. Thanks again to that great channel, American Movie Classics.

I always loved Lillian Hellman, way ahead of her time - she may have been controversial with powerful enemies and treacherous groupies but I'm always reminded of the stuff the lady was made of by going back to the letter she wrote to the House Of Un-American Activites that she wrote knowing that she was risking everything. She paid a heavy price but now we know who the real, patriotic Americans were - Lillian Hellman right up there - I saw The Little Foxes last night - first time in two decades - and I was enveloped in its relevance. Lillian Hellman herself wrote the screenplay based on her play about greed, the banquet of the 1 per cent and the blatant social injustice. Class, race and all the rest of it. As if that wasn't overwhelming enough, William Wyler and Bette Davis - what an brilliant combination - Davis was only 33 when she played Regina - Astonishing performance. This must be one of her very best, The film also has the extraordinary Patricia Collinge as Birdie and Teresa Wright. This is a film to visit and revisit for its historical relevance and cinematic brilliance