La loba

A gleefully macabre and intensely suspenseful movie based on the Lillian Hellman play. Bette Davis sinks her teeth into the role of icy bitch Regina Giddens with such relish that you can practically hear her sighing with satisfaction at getting away from the noble sufferer roles that had so recently made her famous in films like "Jezebel" and "Dark Victory." She's monstrous here as the frigid wife of Herbert Marshall, waiting impatiently for him to die so that she can get her talons on his inheritance. A group of conniving brothers are trying to outsmart her and claim the inheritance for themselves, but they have no idea who they're dealing with. We ultimately can forgive Davis for her reptilian selfishness, because she's driven to it out of survival. If you want to play with the big boys, the movie seems to say, you have to learn to be one yourself.

This is a lesson her sister-in-law, Birdie, hasn't learned, and as a result is a fluttering, neurotic mess of a woman, bulldozed by her husband and supreme example of exactly the kind of woman Regina refuses to be. Birdie is played by Patricia Collinge in a devastatingly heartbreaking performance. Just watch her in the scene where her husband slaps her; you can almost literally see the life drain out of her as she accepts her misery as a cage from which she doesn't ever really hope, or feels she deserves, to escape.

And as the moral conscience of the film, Teresa Wright plays Regina's daughter, Alexandra, slow to pick up on the treacherous games her own mother is playing.

The classic scene in this film is the one in which Regina's husband actually dies. She's sitting feet away from him, watching him gasp for breath while refusing to get the medication that could save his life, and Davis's creepy, empty expression shows us just how little compassion or sympathy, or even any emotion other than greed and vengeance, remains in this grotesque, twisted creature. Marvelous!

Grade: A+

As the greedy, conniving Regina Giddons, Bette Davis gives a fascinating performance which ranks with her very finest. Tallulah Bankhead had her greatest stage success playing Regina on Broadway in 1939. Wyler wanted Davis to portray Regina with a more sympathetic "hot house" flavour, but Bette was adamant that the character was a witch in spades: the resulting performance is striking. Regina Giddons is a classic example of a character movie viewers love to hate. Carl Benton Reid is great as the equally greedy brother and Dan Duryea is fine as Leo the crumb. As Alexandra, Teresa Wright is almost annoyingly innocent in the beginning, but she wisens up considerably towards the end of the film: "Why, Alexandra, you have spirit after all. I used to think you were all sugar-water" says a frankly impressed Regina. As the alcoholic flibbertigibbet Birdie, Patricia Collinge is perfection personified: a truly memorable portrait brilliantly enacted. Herbert Marshall is fine as the tragically deceived Horace who shouldn't depend on his "lovely" wife to fetch his heart medicine for him. A magnificent example of a great play transferred to film, Wyler's guiding hand is patent throughout: they definitely don't make films like this anymore - no matter what the cost.

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.

This was a surprisingly good movie - for me, not people who like Bette Davis and melodramas. They got what they hoped for, another solid film with her starring in it. I don't particularly care for Davis or "soaps," but I liked this film and see it more of a straight drama, anyway, especially because of the crisp dialog.

It's a story about money and how to use it or how to acquire more of it through deceit and greed. Davis, as "Regina Gidden," is the most greedy of the Gidden clan, vying for more money with her brothers who aren't exactly trustworthy people themselves. Among the three, there wasn't anyone to root for since the family shared in their lust for money. Davis does her normal excellent acting job but I enjoyed Charles Dingle as "(Uncle) Ben Hubbard" best. I liked his lines more than anyone's and the way he delivered them. Carl Benton Reid played the other greedy Hubbard brother, "Oscar" and Dan Duryea was interesting as Oscar's dumb son, 'Leo."

Herbert Marshall was good, too, as Regina's husband "Horace." He was an honest, principled man and thus, the black sheep in that household. Unfortunately, he was dying and his death played a big part in this story.

The sub-plot in this tale is the coming-of-age of Hubbard daughter "Alexandra" played by Teresa Wright. Her "coming of age" translates to finally standing up to her domineering mother. Richard Carlson plays her reluctant boyfriend "David Hewitt" who, in the end, is won over when "Alexandra" grows up.

So, this excellent cast, complemented by an outstanding director in William Wyler and world-class cinematographer Gregg Toland all adds up to a solid, memorable film.

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.