The Little Foxes

The Little Foxes is a captivating drama film released in 1941. The film is directed by the eminent William Wyler, starring an illustrious cast that includes the iconic Bette Davis, alongside Herbert Marshall and Teresa Wright. The movie is adapted from Lillian Hellman's 1939 play of the same name; the screenplay retains Hellman's sharp dialogue and expertly renders its complex characters for the silver screen.

Set in the overtly aristocratic South of 1900, the movie hones in on the lives of the Hubbard family, a beacon of corruption and opportunism veiled behind gentility. Bette Davis is in her element here, playing Regina Giddens née Hubbard, the linchpin of the deceit and conniving that fuels the storyline. There's an air of dread from the onset, a spectral sense of impending catastrophe as Regina schemes and manipulates to secure her share of the family fortune.

Regina is married to Horace Giddens, portrayed by Herbert Marshall, a sickly but good-hearted man who is a stark contrast to the money-grubbing Hubbard clan. His illness keeps him away from his family, but a lucrative business opportunity sees Regina compel his return, setting in motion a sequence of events that exposes the dark underbelly of this seemingly respectable southern family.

Teresa Wright delivers a commendable performance as Regina's innocent and principled daughter, Alexandra. Unaware of the depths of her family's greed and deceit, it is through Alexandra, the lens of naive morality, that we view the unfolding drama. Alexandra’s evolving perception of her mother and her interaction with the other characters enriches the narrative considerably.

Supporting characters, including Regina’s two brothers, Ben and Oscar Hubbard, played by Charles Dingle and Carl Benton Reid respectively, are vividly realized. Their avaricious posturing and ruthless pragmatism perfectly encapsulate how money and power can warp morality. The anxious Birdie, Oscar’s reluctantly acquired and continually overlooked wife, portrayed by Patricia Collinge, adds another layer of emotional complexity and depth to the already engrossing narrative.

The film remains a compelling watch, thanks to its biting social critique and richly drawn characters. It bravely portrays a bitter, incisive expose of a family under the yoke of avarice, harboring colossal ambitions irrespective of the cost to human values or relations. The movie examination of class, gender dynamics, and racial relations offers insights that continue to resonate and make for thought-provoking viewing.

A hallmark of The Little Foxes is Wyler's expert directorial touch. His skillful use of deep focus photography, combined with remarkably choreographed long takes, results in an atmosphere of brooding tension. Wyler's eye for framing and composition also proves instrumental in heightening key moments throughout the narrative, crafting some truly memorable cinematic scenes. That, combined with Toland’s cinematography, and meticulous, evocative production design, vividly brings to life the era and the decadence associated with the Hubbard family.

Meanwhile, the performances are universally superb. Bette Davis’ portrayal of Regina is gloriously icy and venomous, considered one of her most memorable roles. Her disquieting coldness resonates throughout the other performances and leaves a lingering afterthought about the lengths some will go for money and power. Marshall tenderly embodies the decency of Horace, while Wright shines in her on-screen naivety as Alexandra.

Gregg Toland's cinematography, with its stylistic use of chiaroscuro and elegant deep-focus setups, is a standout. The film's aesthetics, from art direction to costume design, inject realism into the lieu. Meanwhile, the score by Meredith Wilson underscores the emotional beats, heightening the drama without becoming intrusive.

In conclusion, The Little Foxes is an engrossing filmic achievement. Brimming with enthralling performances, stylish direction, and a hard-hitting narrative, the movie transforms Lillian Hellman's original play into a cinematic tour de force. It is a must-see for fans of classic cinema, offering a remarkable study in familial deceit and the corrosive power of greed.