Pérfida

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 have been a fan of Bette Davis since I was a young child. Her riveting performance in this movie made me conscious of what a truly good actor can do. Regina (Bette) and her covetous brothers made the biblical passage "the love of money is the root of all evil" come to life.

The Little Foxes is an apt name. As animals Regina, Horace and Oscar not only would tear others to pieces to get what they want; they would eventually turn on each other to gain satisfaction.

The performance of Herbert Marshall made me immediately search for his other movies to view; I've not been disappointed. I am thankful his character was included to offset the viciousness of Regina and her brothers.

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

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.

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+