Film-making at its best is what describes THE LITTLE FOXES, directed by William Wyler, shot by Gregg Toland -- he of deep focus fame -- adapted from a Lillian Hellman play and with Bette Davis playing a ruthless matriarch with a velvet glove.
How far can greed take a person? This seems to be the question lingering over anyone who witnesses the story of the Hubbard's plot to secure money for a cotton mill they plan to run to expand their wealth even more. It's certainly a question that doesn't faze any of the Hubbard siblings -- they need 75,000 dollars to complete it and will get it one way or another --, certainly not Regina Giddens, who also intends to use her estranged husband's bonds for this purpose. That she effectively manipulates her daughter Alexandra into bringing him back to the house proves just what she can do to get what she wants, and an easy proof is the way she lazily relaxes over the sofa, regarding everything with semi-droopy eyes, knowing full well the extent of what she owns, and that it won't take long for her to own even more. That even when he shows signs of failing health she doesn't back down -- she will hound him for every penny he's got, even if it means letting him die without his medication, as she calmly does after a scene of verbal recriminations.
A cruel story that never feels preachy, THE LITTLE FOXES translates better on the screen than on the page: much like THE CHILDREN'S HOUR, much to the respect of those who admire Lillian Hellman's plays, there are many flaws throughout that seem a little forced in either resolution or non-resolution. The film version goes much deeper in establishing the moral decay of a family while adding another -- that of David Hewitt, played by Richard Carlson -- to give some contrast to the amount of unlikeable characters that populate Hellman's view of 1900's America. Having Toland take full charge of his particular way of composition in service of the story as opposed to style over substance is the key to making this movie and its performances work; otherwise it would be just another chamber drama in three acts. His and Wyler's direction allow for every minute detail in Davis' top-notch performance to come through: the chilling scene with her sitting in the sofa, looking dead ahead, as her husband crawls to his death up the stairs, is one of remarkable power -- more so due to its restraint of emotion, as is the final scene when she watches Alexandra leave and retreats from the windows into shadows.
There's an interesting similarity in this film and Ingmar Bergman's CRIES AND WHISPERS. Both films had a virtuous person who was near death, both films had characters who were essentially monsters flaunting their ugliness to each other, each movie had one sympathetic female who walks away from the claustrophobic household and into a better future. Obviously the similarity is thematic; siblings as monsters have been seen since Shakespeare, but in a time where period dramas relied more on romance and less on the underlying yet savage cruelty people inflict on each other, THE LITTLE FOXES is definitely one who has dated well. The only scene which lacks a little punch is the final scene in which Alexandra confronts Regina. It diminishes Alexandra's character somewhat, makes her weak, but I think also it's the choice Teresa Wright took when applying herself to this role; plus, it was her first film appearance against none other than Bette Davis in full command of Who she was. Aside from that, this is a somewhat difficult yet absorbing drama to watch, and after seeing Davis as Regina Giddens, it would be hard to see Tallulah conveying Regina's cold cruelty. A great film.
How far can greed take a person? This seems to be the question lingering over anyone who witnesses the story of the Hubbard's plot to secure money for a cotton mill they plan to run to expand their wealth even more. It's certainly a question that doesn't faze any of the Hubbard siblings -- they need 75,000 dollars to complete it and will get it one way or another --, certainly not Regina Giddens, who also intends to use her estranged husband's bonds for this purpose. That she effectively manipulates her daughter Alexandra into bringing him back to the house proves just what she can do to get what she wants, and an easy proof is the way she lazily relaxes over the sofa, regarding everything with semi-droopy eyes, knowing full well the extent of what she owns, and that it won't take long for her to own even more. That even when he shows signs of failing health she doesn't back down -- she will hound him for every penny he's got, even if it means letting him die without his medication, as she calmly does after a scene of verbal recriminations.
A cruel story that never feels preachy, THE LITTLE FOXES translates better on the screen than on the page: much like THE CHILDREN'S HOUR, much to the respect of those who admire Lillian Hellman's plays, there are many flaws throughout that seem a little forced in either resolution or non-resolution. The film version goes much deeper in establishing the moral decay of a family while adding another -- that of David Hewitt, played by Richard Carlson -- to give some contrast to the amount of unlikeable characters that populate Hellman's view of 1900's America. Having Toland take full charge of his particular way of composition in service of the story as opposed to style over substance is the key to making this movie and its performances work; otherwise it would be just another chamber drama in three acts. His and Wyler's direction allow for every minute detail in Davis' top-notch performance to come through: the chilling scene with her sitting in the sofa, looking dead ahead, as her husband crawls to his death up the stairs, is one of remarkable power -- more so due to its restraint of emotion, as is the final scene when she watches Alexandra leave and retreats from the windows into shadows.
There's an interesting similarity in this film and Ingmar Bergman's CRIES AND WHISPERS. Both films had a virtuous person who was near death, both films had characters who were essentially monsters flaunting their ugliness to each other, each movie had one sympathetic female who walks away from the claustrophobic household and into a better future. Obviously the similarity is thematic; siblings as monsters have been seen since Shakespeare, but in a time where period dramas relied more on romance and less on the underlying yet savage cruelty people inflict on each other, THE LITTLE FOXES is definitely one who has dated well. The only scene which lacks a little punch is the final scene in which Alexandra confronts Regina. It diminishes Alexandra's character somewhat, makes her weak, but I think also it's the choice Teresa Wright took when applying herself to this role; plus, it was her first film appearance against none other than Bette Davis in full command of Who she was. Aside from that, this is a somewhat difficult yet absorbing drama to watch, and after seeing Davis as Regina Giddens, it would be hard to see Tallulah conveying Regina's cold cruelty. A great film.