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The Little Foxes (1941)

Approved | | Drama, Romance | 29 August 1941 (USA)
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The ruthless, moneyed Hubbard clan lives in, and poisons, their part of the deep South at the turn of the twentieth century.

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(by), (screen play) | 3 more credits »
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Nominated for 9 Oscars. Another 3 wins. See more awards »

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Cast

Cast overview, first billed only:
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...
...
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Patricia Collinge ...
Birdie Hubbard
...
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Jessica Grayson ...
Addie (as Jessie Grayson)
John Marriott ...
Cal
...
...
Virginia Brissac ...
Terry Nibert ...
Julia
Henry 'Hot Shot' Thomas ...
Harold
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Storyline

The ruthless, moneyed Hubbard clan lives in, and poisons, their part of the deep South at the turn of the 20th century. Regina Giddons née Hubbard has her daughter under her thumb. Mrs. Giddons is estranged from her husband, who is convalescing in Baltimore and suffers from a terminal illness. But she needs him home, and will manipulate her daughter to help bring him back. She has a sneaky business deal that she's cooking up with her two elder brothers, Oscar and Ben. Oscar has a flighty, unhappy wife and a dishonest worm of a son. Will the daughter have to marry this contemptible cousin? Who will she grow up to be - her mother or her aunt? Or can she escape the fate of both? Written by J. Spurlin

Plot Summary | Add Synopsis

Taglines:

...the film version of the stage hit, as the ruthless beauty whose ambition spelt the doom of three men

Genres:

Drama | Romance

Certificate:

Approved | See all certifications »
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Details

Country:

Language:

Release Date:

29 August 1941 (USA)  »

Also Known As:

La loba  »

Company Credits

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Technical Specs

Runtime:

(copyright length)

Sound Mix:

(Western Electric Mirrophonic Recording)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Bette Davis had legendary make-up artist Perc Westmore devise a white mask-like effect for her face to emphasize Regina's coldness. William Wyler hated it, likening it to a Kabuki mask. See more »

Goofs

When Regina returns home to find Horace in her part of the house, she clearly takes her left glove off before walking towards the staircase. Seconds later, after Horace tells her about the investment in the cotton mill, she turns around at the bottom of the staircase and takes her left glove off again. See more »

Quotes

David Hewitt: You know, that's the first time I ever heard your mother tell you to do something, and you didn't hop to do it.
Alexandra Giddens: That's a funny thing to say
David Hewitt: You know, you take one step. And then you take another. After a while you'll find out you're walking all by yourself.
See more »

Crazy Credits

Opening credits prologue: "Take us the foxes, The little foxes, that spoil the vines:

For our vines have tender grapes." The Song of Solomon 2:15

Little foxes have lived in all times, in all places. This family happened to live in the deep South in the year 1900. See more »

Connections

Version of Die kleinen Füchse (1962) See more »

Soundtracks

Rosen aus dem Süden
(uncredited)
Music by Johann Strauss
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User Reviews

Davis is unforgettable
1 September 1999 | by See all my reviews

This film fully deserves its reputation as one of the most scorching dramas of greed and corruption ever placed on celluloid. A deceptively slow start soon draws into the machinations of the Hubbard clan whose brazen backstabbings and betrayals even today make our jaws drop. Davis' stunning portrayal of the supremely grasping Regina Giddens leads a stellar cast which does a superb job of delineating a finely drawn group of characters. Charles Dingle's deceptively warm smile masks the cooly intelligent deviousness of Ben Hubbard. Carl Reid's Oscar Hubbard is just as malicious but his inferior intelligence makes him yield to his brother's and sister's lead. Dan Duryea nicely portrays the imbecilic and immature Leo Hubbard, a characterization which borders on but never crosses over into comedy. Patricia Collinge breaks our hearts as the broken-spirited and alcoholic Birdie, Oscar's wife. Herbert Marshall's performance as the doomed Horace, Regina's husband, delineates the pain, anger, and sense of betrayal burning beneath his deathly illness. The star of the proceedings, however, is clearly Davis. Wyler's superb direction blends all these characters into a masterful whole.

Hellman's skill as a dramatist must be credited for much of this, but her Marxist inclinations clearly peep through the seams of the dialogue.

I'm glad I finally had a chance to see this undoubted classic. Thanks again to that great channel, American Movie Classics.


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