La citadelle du mal

Even though this is a prequel to 1941's The Little Foxes, you don't have to know the original story to appreciate the back story behind the characters. In fact, I was mostly confused during the first half, trying to piece together what I remembered from the earlier movie, and once I stopped trying, the movie became much more enjoyable.

If you do know The Little Foxes, this movie shows you how Bette Davis's and Charles Dingle's characters became conniving and evil in their youth. Still living under their parents' roof, they long to break free and live their own lives, and money, power, and status threaten their journey to the top. Ann Blyth plays a young Bette Davis and Edmond O'Brien plays a young Charles Dingle. Vladimir Pozner's screenplay shows great parallels to Lillian Helman's story and characters, but even if you're not familiar with them, it's still an entertaining movie with backstabbing and double-crosses galore. As you might remember from 1941, Charles Dingle was married to the unhappy, repressed Patricia Collinge. While we do see Patricia's younger self portrayed by Betsy Blair, it's an even more interesting parallel to see the family's matriarch, Florence Eldridge, and how similar those two characters are. Fredric March plays the family patriarch, and he's extremely effective as overbearing, stubborn, and mean. A very cute tie to both versions is Dan Duryea, who plays his own father - or his own son, depending on which movie you watch first. In Another Part of the Forest, Dan plays the young, irresponsible brother recklessly in love with a can-can dancer. In The Little Foxes, he's the slimy young son who also does something reckless that affects the rest of the family.

Believe it or not, I liked Another Part of the Forest far better than The Little Foxes. The acting is splendid, and everyone tries very hard to mirror their predecessors, with the exception of Ann Blyth. Had she put on a Bette Davis impression, it would have been too comical, so instead she's a beautiful Southern belle in her own right whom audiences can imagine later turned into Bette Davis. The plot is easier to follow, and while it's still a very heavy drama, it's not as upsetting as watching Herbert Marshall in a wheelchair back in 1941. Check this one out, and think about skipping the original.

I wasn't aware that this prequel had even been made. It helps to be familiar with the later story (filmed 7 years earlier-so Hollywood) and I'm glad I came across it. It has the same general feel as 'Little Foxes', so if you want to see how the older Regina and her slithery brothers got to be the way they were, see this very well acted and written flick.

If you think that the Hubbard's of "The Little Foxes" were decadent , then you will see that they have mellowed , compared to this fantastic prequel , also written by the wonderful Lillian Hellman. The cast works extremely well together . This is the only movie that i know of where Fredrich March plays a villain (Jekyll and Hyde doesn't count) and does he do it to the limit . During a night of musical entertainment in is home, he cruelly insults and humiliates one of his guests, his son's (Duryea) girlfriend, by insinuating that her father played Mozart on a little drum. The girl had said that her father played a little drum and at Duryea's insistence drew attention to Mozart in an attempt to please patriarch Hubbard. The humiliation comes complete with facial disdain and tone of voice that only the cruelest of men could provide . The rest of the family with the exception of Hubbard's wife played by the real Mrs.March (Florence Eldridge) is each in their own way a monster . Edmond O'Brien is wonderful as the "chip off the old block" son , and Dan Dureyea is a great contrast as the half fool and half idiot other son. Ann Blyth who plays daughter Regina is captivating as the only one in the world to whom patriarch Hubbard shows any affection . To state any more of this father daughter relationship would reveal to much of the story in the event you are privileged to see this magnificent film . This film is just one of those cases when a chemistry between the cast was achieved , and the result is riveting . This chemistry is in no small way attributable to the great March , who was able to weave a similar magic in "The Best Years Of Our Lives" . Unfortunately my attempts at seeing this movie again , have failed . It seems as though it has disappeared and if it has , it is a shame . This film is a horror story , where the monsters are human beings . They wear no gruesome masks (exept in one Klu Klux Clan scene) or torment anyone Freddy Kruger style . Their horror and ours , is in men and women's souls .

'Another Part of the Forest' has been compared often inevitably and for good reason to 1941's 'The Little Foxes', a great film with one of legendary Bette Davis' best performances. The reason for the comparison is that this is a prequel to that film despite being made seven years later. It sees a fascinatingly evil and ruthless family and the source material was shocking at the time and with the portrayal of such ruthlessness in just one household still has the ability to shock.

Have actually seen mixed reviews for 'Another Part of the Forest'. It is very positively received here and a number of classic/Golden Age film fans like/love it too. At the same time, there have been criticisms from some critics, mostly trusted ones from personal view but they're not without dubious opinions every now and again, of 'Another Part of the Forest' being static and that the stage origins are obvious. Actually lean more towards the former and it is great to see people here fond of it. To me, it was very good even if there is a preference for 'The Little Foxes'.

The direction could have been sharper in places, parts of it tend to be on the limp side and lacks William Wyler's imaginative use of camera and atmosphere a little.

Did think too that Ann Blyth's acting, though she does absolutely have great moments, didn't quite gel with that of the rest of the cast. She didn't quite seem monstrous enough and could have gone for it more, Davis was so toweringly monstrous in 'The Little Foxes' and there didn't quite seem to be enough here of how the character came to be the way she became.

However, the cast on the most part are wonderful. Fredric March is perfectly cast and he was never more chilling than here. Dan Duryea does calculating in a way that is very sinister and Florence Eldridge is effectively dotty. Edward O'Brien is a great and more sympathetic contrast to March, their conflict is not just ruthless but also very interesting. The father-daughter chemistry also unsettles and although the characters are with few redeeming qualities and very unsympathetic they are interesting and didn't come over as too over-written, motivations take a lot of unpredictable turns but they were at least buyable.

It, 'Another Part of the Forest' that is, moreover looks great. Very sumptuous and atmospheric, with eerie shadowy lighting and elegant costuming and settings. The music is haunting without over-shadowing or being over-bearing orchestrally. The script thought provokes and bites and doesn't feel too overly talky in the way a lot of other stage to film adaptations do, found it quite vicious too. Personally didn't think it was static or stagy at all, the character interactions were very believable, there were tension and chills in the atmosphere, it was darkly dull and it didn't feel that much of a filmed play or get too melodramatic again like some stage to film adaptations do and also considering the subject. If there was an improvement over 'The Little Foxes' it was the ending, it was the one weak spot in that film whereas it was unpredictable and didn't come over as abrupt.

On the whole, very good. 8/10

Watching Another Part Of The Forest tonight I was struck at how well Vladimir Pozner captured the characters of the young Hubbards. the subject of Lillian Hellman's classic The Little Foxes. If I didn't know better and maybe I don't Pozner might have had Hellman looking over his shoulder during the writing of the script.

It all begins with old Marcus Hubbard played by Fredric March, patriarch of the Hubbard clan who made his fortune running the Yankee blockade during the Civil War and then charging exorbitant prices for the goods he brought in. He's not a beloved man by his neighbors in 1880 Alabama, but March has a terrible secret that if the good people knew he'd be lynched on the spot.

The Hubbards are rich and despised and March's children take right after the old man. Dan Duryea who played idiot nephew Leo in The Little Foxes plays Oscar Hubbard and Edmond O'Brien plays Ben who is a real chip off the old block. It's March and O'Brien and their conflict which drives the whole film.

Scheming herself is young Regina Hubbard played by Ann Blyth a few years older than when she played the spoiled Veta in Mildred Pierce. She's as spoiled as Veta, but a lot craftier. She plays on daddy's affections which border on incest to the hilt. O'Brien keeps trying to match her up with young Horace Giddens who is never seen here, but was played by Herbert Marshall in The Little Foxes. We know that eventually happens, but right now Blyth is looking to trade up in respectability and marry young John Bagtry, scion of an old plantation family and Confederate veteran.

Bagtry is played by John Dall and he maybe respectable, but he's totally living in the past. As is sister Birdie played with a flair by Betsy Blair. We see the genesis of the character that Patricia Collinge plays in The Little Foxes who marries Oscar Hubbard and then just pines for the good old days of gracious living and people being kind to each other.

March however dominates things, in some ways he's admirable because he wants class and respectability. He's taught himself Latin and Greek and is disappointed his kids have no pretensions to culture though Blyth plays on him with pretending. But all that culture and all that money can't get him into the best homes and the second generation doesn't even care to try.

Another Part Of The Forest is a real classic with great performances all around by a fabulous cast. The spirit of Lillian Hellman's earlier work is only enhanced by this film.