It is 1905 (or so). Ben Hubbard is still (apparently) head of the Hubbard family. He certainly is the stronger of the two brothers (Oscar is now a sullen cypher due to his marriage to chatterbox, delicate lady Birdie Bagtry - we later learn that Oscar does not hesitate to slap his poor wife around). Oscar does have a son, Leo, but Leo has inherited all of his father's youthful stupidity, and has none of the smarts that grandfather Marcus and Uncle Ben (or even daddy Oscar) have. Regina is still in third position - but Ben is aware that if it were a matter of brains she might replace him (as she wants to, badly). She is married to Horace Giddens, the president of the town bank, and they have a daughter Alexandra. Unlike the socially challenged (and viciously stupid) Leo, Alexandra has managed to pick up her father's gentle personality, and is (when he is around) quite happy. She also has a boyfriend, the local newspaper reporter David Hewlitt (Richard Carlson).

A northerner (Russell Hicks) is interested in a scheme the Hubbards have in which they supply him the grown, picked, and processed cotton in their mills, ship them to him, and he turns them into cotton clothing and goods. Hicks is really interested, but he needs financial reassurance (on their parts) in a couple of weeks. Ben and Oscar are ready with their money - but Regina is stalling. She explains that she is waiting for Horace (who is in poor health - he has a heart condition) to return home before she gives their share. For Ben and Oscar figure that it is Horace who will be their partner.

This is the beginning of THE LITTLE FOXES. Ben and Oscar (Charles Dingle and Carl Benton Reid - both from the Broadway cast) are surprised when Horace shows total hostility to the scheme (he detests his greedy in-laws, and hates the thought of assisting them in anything). Regina tries to reassure them, but Ben is not trusting her.

The marriage of Horace and Regina is quite dead. We know that Regina loved another (John Bagtry) but Horace made the mistake of falling for Regina, and then marrying her. He has found her icy and unloving and as greedy as her two brothers. The only good thing to come out of the marriage is the birth of his daughter Alexandra, who fortunately takes after him.

Leo (Dan Duryea - also from the original cast) turns out to have the key to saving the business deal. He knows that Horace has a set of bearer bonds in his safety deposit box that are meant for Alexandra when she marries. He tells Oscar about these bonds, and Oscar relates the news to Ben. The good thing about these bonds is anyone can use them. And it's not difficult to replace them. So Leo (after he is shown that he is definitely not going to be a partner in this business deal) steals the bonds. Horace should not ask for the bonds soon - shouldn't he?

Of course, Horace does. But he springs a surprise on Regina which displeases her, and leads to their final confrontation: a painful and fatal one. Horace hates Ben and Oscar for their opportunistic economics to get to the top on the shoulders of everyone else. He wouldn't help them because he hates their kind, who may threaten the country. But he does loathe his wife - and that might change his mind.

The film is one of the best filmed plays from Hollywood's "Golden Age". Bette Davis' evil Regina has been called a woman in an unearthly mask, covering all her emotions to the highpoint of the story - but letting her eyes tell what is in her mind. This film may also be the best dramatic performance by Herbert Marshall (although his wronged husband opposite Davis in THE LETTER is close). The four pros from Broadway do wonderfully, particularly Dingle (who occasionally reveals a playful streak - like a panther toying with it's victims),and Duryea as an opportunist who otherwise is quite stupid and vicious. Dingle even boasts that one day he and his type will rule this country (in answer, in a way to Horace's fears). Reid looks soulless and vindictive, and Pauline Collinge (as Birdie) arouses the audience's sympathy. As for the young lovers, Wright gained her first Academy Award nomination in her confrontation scene with Davis, and Carlson gains our general approval by demonstrating what should have been done to Leo years earlier.

As for the title, it comes out of the Old Testament. Oddly enough the actual quote includes the title of another film of the 1940s, "for our vines have tender grapes".

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.

While not quite one of my favourite William Wyler films like Roman Holiday, Ben-Hur, The Best Years of Our Lives, Wuthering Heights, Mrs. Miniver and Dodsworth (also remember great things about The Heiress),The Little Foxes is an excellent film and another one of his near-classics).

The Little Foxes, as always with Wyler's films, looks great with photography that is both sumptuous and clever (like Jezebel, one does feel like they are not just surveying the action but are being part of it),atmospherically shadowy lighting and elegant costuming and sets. Meredith Wilson's score is effectively haunting and induces some suspense that adds a lot to the atmosphere of the story, while never overbearing the drama. The Little Foxes is superlatively directed by Wyler, his use of the camera is relentless, he keeps the drama taut and does such a great job engrossing the audience into the story and its atmosphere to the extent it's like being there.

Incredibly powerful writing, with razor sharp and chillingly vicious dialogue, and a story that's paced smoothly, darkly cruel, acutely dramatic without being melodramatic or ham-fisted but still entertaining and very compelling in its realism are also great assets, and there are scenes that stay with you for a long time like Regina and Alexandra's climactic scene on the staircase, the interaction between the characters and especially Horace's death scene (and that was mostly because of some chilling acting from Davis). The characters are interesting and well-written if mostly unsympathetic apart from Alexandra, David and Horace, and like the story compellingly realistic.

Herbert Marshall is on excellent form, bringing poignant tragedy to the role, while Patricia Collinge is heart-breaking, Teresa Wright is radiant and touching with a touch of feisty spirit in her later scenes and Richard Carlson makes for a sympathetic boyfriend. On the other end of the spectrum, there is also Carl Benton Reid and Dan Duryea is greedily calculating brothers and Charles Dingle is entertainingly devious and intelligently deceptive as a scheming character. Best of all is the towering portrayal by Bette Davis, playing one of the most monstrous characters of her career along with Whatever Happened to Baby Jane and The Anniversary, even her appearance is enough to give you the creeps.

Only the somewhat abrupt and not quite resolved enough ending isn't so good, other than that The Little Foxes is an excellent film, that while not among Wyler's best it does deserve to be seen more. 9/10 Bethany Cox