The Little Foxes [1941] [Korean Import]

A biblical passage about greed tells of hungry foxes prowling vineyards to eat grapes, while the little foxes, too small to reach the grapes, chew on the bases of the vines and destroy them. Greed is the main theme of this magnificent 1941 adaptation of Lillian Hellman's stage play of the same name, the little foxes being the grasping Regina Hubbard Giddons (Bette Davis), who married upright Horace Giddons (Herbert Marshall) for his money, and her equally grasping Hubbard brothers (Carl Benton Reid and Charles Dingle) and nephew (Dan Duryea).

While Horace, the president of Planters Trust, a bank in the deep South, has been recuperating from a serious illness, away from home, his Hubbard brothers-in-law and nephew have been running the bank--and fleecing the poor and the black. Eventually, the Hubbards steal money from the absent Horace in order to become partners in a new cotton mill, but the sickly Horace returns home and discovers the theft, along with the treachery of his wife (Davis). Only his nubile daughter Alexandra (Theresa Wright) is true to his heritage of honesty and generosity of spirit.

As Regina, Davis as a cold-hearted villainess, imperious and demanding, without an ounce of generosity. The very young Teresa Wright, as daughter Alexandra, is her naïve antithesis. Author Hellman, who wrote the screenplay for the film, apparently recognized the need to offer some hope for the younger generation and an upbeat note to the film, including a new character, David Hewitt (Richard Carlson), a journalist, who is in love with Alexandra. In new scenes in which the two converse, and in scenes at the bank, a rounder picture of the transition from old to new economy evolves.

Set around the turn of the century, this powerful set piece, directed by William Wyler, depicts the change from a traditional landed aristocracy to newly rich entrepreneurs, like Regina's brothers, who lack positive values. The cast, many of whom created their roles in the stage play, is letter perfect in the attitudes they convey and in their complete mastery of their material. Many of the scenes, beautifully filmed interiors, with the staircase and its balcony playing a key role, allow Davis to look down on those below her. The exterior shots give a wider view of the society and provide some relief from the dark intensity of the drama surrounding the ill Horace. Nominated for nine Academy Awards, including acting, directing, supporting actor, score, and interior decoration, the film seamlessly integrates its many facets in a directorial triumph for Wyler. Mary Whipple

This was Bette's 3rd and last outing with the great William Wyler and although they clashed throughout the shooting of the film this turned out to one of Bette's best performances. Totally stripped of any emotional warmth (which Wyler wanted Bette to display) Bette plays Regina with a coldness that would make the Artic seem tropical. Regina is obsessed by money and power and she will stop at nothing to get what she wants, whether that is letting her husband die by withholding his heart medicine, blackmailing her brothers or losing her daughter. I have a tendancy to concentrate soley on Bette's performance which is one of the best she has ever given but this film is supported by a terrific supporting cast without whose talent this would have been a lesser film. The cameramanship towards the end of the film is superb especially when the camera freezes on Regina's face as you see her husband in the background trying to climb the stairs to get his heart medicine.
The script is flawless and this is a must see film for anyone who truly enjoys great cinema and acting. Bette Davis turns acting into an art form in this film.

If there were ever a better movie made about family greed, duplicity and selfishness, I've yet to see it. William Wyler, one of the great directors, is at the top of his form. Bette Davis commands the screen with a performance so powerfully evil you can't stop watching, but it never descends to camp.

The Hubbard brothers, Ben (Charles Dingle) and Oscar (Carl Benton Reid), bankers in their turn-of-the-century southern town, have a scheme to bring cotton factories to the south where the cotton grows. With cheap labor they'll make a fortune. They need their sister, Regina Giddens (Bette Davis) to come up with a third of the required investment. The three believe they can get the money from Regina's sick husband, Horace (Herbert Marshall). He refuses, saying he won't be part of a plan to take advantage of the workers in the town through the schemes of his wife and her brothers. "Maybe it's easy for the dying to be honest," he says to Regina. "I'm sick of you, sick of this house, sick of my unhappy life with you. I'm sick of your brothers and their dirty tricks to make a dime. There must be better ways of getting rich than building sweatshops and pounding the bones of the town to make dividends for you to spend. You'll wreck the town, you and your brothers. You'll wreck the country, you and your kind, if they let you. But not me, I'll die my own way, and I'll do it without making the world worse. I leave that to you." Regina's response is straightforward. "I hope you die. I hope you die soon. I'll be waiting for you to die." The brothers arrange to "borrow" some bearer bonds Horace is keeping in their bank. Horace discovers the theft. He plans to change his will, but dies before he can. Regina now says she wants a 75 per cent share of the scheme or she'll send her brothers to jail. Ben Hubbard simply chuckles and muses about why Regina's husband died on the stairs while she was in the living room. It's a stalemate of scorpions. But, as Ben said to Regina, "The world is open for people like you and me. We'll own it someday."

Most of this takes place in the Giddens' genteel antebellum mansion, yet Wyler has managed to avoid any hint of staginess (where the play, by Lillian Hellman, originated). He keeps things so dramatically edgy and moving that the story and the acting simply is engrossing.

Bette Davis, in my view, could and did go over the top too easily in portraying evil or ruthless women. Here she reins it in enough that her selfishness is stunning but you're reacting to the character, not just to Bette Davis acting. One of her great scenes is when, after her showdown with her husband in the parlor, Horace realizes he's having a heart attack and asks Regina to go up the stairs to his room and bring him his medicine. She just sits there, watching him. It dawns on him that she won't help him. He struggles to the stairs and partly climbs, partly crawls up. The camera focuses on Regina's face as, in the background, you can see him struggling...and dieing. It's quite a scene.

The other cast members are excellent. Charles Dingle, as Ben Hubbard, the brother who has the brains, is at once charming and completely unethical. Herbert Marshall, who often played noble but weak men, this time places the accent on physically weak but morally strong. Teresa Wright plays Alexandra Giddins, Regina and Horace's daughter who finally realizes the monster her mother is and breaks free of her. This was her first movie, and she holds her own very nicely with Davis.

This is one of the great American movies, and watchable many times. The DVD looks great.