The film's title comes from Chapter 2, Verse 15 of the Song of Solomon in the King James version of the Bible, which reads, "Take us the foxes, the little foxes, that spoil the vines: for our vines have tender grapes."
Plot
The Hubbards are entertaining a dinner guest, William Marshall, a prominent Chicago businessman with whom they hope to partner in an enterprise to build a cotton mill in their sleepy town, taking advantage of low wages paid to workers. Marshall looks favorably on the plan and invites Regina to let him show her Chicago. After he leaves, Regina reveals that she plans to move to Chicago, taking her daughter, Alexandra, with her. She plans to finally live the privileged life she believes she deserves, away from the backward place where they presently live.
Regina proceeds to drive a hard bargain with her brothers for a two-thirds share of the mill in exchange for persuading Horace to invest $75,000, only a one-third share. She sends Alexandra to Baltimore to bring her father home, supposedly because Regina misses him.
When Alexandra accuses childhood friend, journalist David Hewitt, of not liking anyone in her family, he teases her saying he likes one person — her papa. Bidding her farewell at the train station as she leaves to pick up her father, he instructs her to open her eyes to circumstances surrounding her and to “think for yourself.” On her trip, he encourages her to widen her world, speak to strangers, and go beyond the societal conventions for women. Realizing that she will resent him for revealing truths about her unsavory family, he gently prods her to increase awareness. On another occasion, when asked by Regina whether he is courting her daughter, David replies that at present he is not declaring his intention, but that if he decides to do so, he will not care whether or not she approves.
Oscar, having married and abused the sweet-souled, fragile, now-alcoholic Birdie to acquire her family's plantation and its cotton fields, now schemes to consolidate the family wealth by a marriage between his son, Leo, and Alexandra, but neither Horace nor Regina like the idea.
When Horace dislikes the proposal to invest in the cotton mill, Regina continues to press him, making him aware of her mercenary motives for asking him to return home. While the two of them argue upstairs, the brothers find an alternative. Leo, a teller at the bank, will “borrow” Horace's railroadbonds from his safe deposit box. They will use them as security for the construction, returning them long before it is time to clip the coupons. Gloating, Ben tells a furious, bewildered Regina they don't need her.
Horace checks the content of his safe deposit box in the Hubbard-owned bank and finds bonds are missing. When Regina learns that her brothers have “borrowed” the bonds without permission, she threatens her brothers and nephew with exposure unless they give her 75% of the venture’s profit.
Quarreling alone with Regina, Horace intends to frustrate and punish his contemptuous wife’s scheming by claiming he lent her brothers the bonds. She would only be entitled to repayment of the loan without any share of the profits. Regina spews her hatred for him, informing him that she never loved him and had grown contemptuous of his unquestioning acceptance of her constant excuses for rejecting his affections. During the quarrel, Horace suffers a heart attack, and Regina callously refuses him heart medication. Normally confined to a wheelchair, he collapses attempting to climb up a staircase to reach his medication while Regina makes no move to help. He dies shortly after.
Bette Davis and Herbert Marshall
Regina now forces her brothers to give her 75% ownership of the business. Ben takes the loss philosophically, saying that he must accept it for now, but the situation may turn. For example, he might begin to ask what a man in a wheelchair was doing on a staircase. A bewildered Alexandra overhears this. “What was Poppa doing on the staircase?”
Alexandra becomes aware of her mother’s and uncles’ perfidy. Comforting her, David gently tells her that she had to learn the truth by herself; she would have resented anyone who told her about her family. Alexandra and David leave for a new life together. Regina is left utterly alone, unable to trust her devious brothers, still planning to move to Chicago to have the life for which she has yearned.
The title comes from Chapter 2, Verse 15 in the Song of Solomon in the King James version of the Bible, which reads, "Take us the foxes, the little foxes, that spoil the vines: for our vines have tender grapes."[5] The same passage also inspired the title of an unrelated film, Our Vines Have Tender Grapes.
Tallulah Bankhead had received critical acclaim for her performance in the 1939 Broadway production of Hellman's play, but director William Wyler, who previously had teamed with Bette Davis on Jezebel and The Letter, insisted on casting her in the lead role instead. Producer Samuel Goldwyn agreed, since none of Bankhead's films had been box office hits. (Coincidentally, Davis had recreated on film another of Bankhead's Broadway roles, Judith Traherne in Dark Victory.) However, Davis was reluctant: "On The Little Foxes I begged the producer, Samuel Goldwyn, to let Tallulah Bankhead play Regina because Tallulah was magnificent on the stage. He wouldn't let her."[6] Initially Jack L. Warner refused to lend Davis to Goldwyn, who then offered the role to Miriam Hopkins.[7] When Wyler refused to work with her, Goldwyn resumed negotiations with Warner and finally secured Davis for $385,000. As a contract player at Warner Bros., Davis was earning $3,000 a week, and when she discovered how much Warner had received for her appearance in Foxes, she demanded and ultimately received a share of the payment.[5]
Wyler encouraged Davis to see Bankhead in the original play, which she did despite major misgivings. She later regretted doing so because after watching Bankhead's performance and reading Hellman's screenplay she felt compelled to create a totally different interpretation of the role, one she didn't feel suited the character. Bankhead had portrayed Regina as a victim forced to fight for her survival due to the contempt with which her brothers treated her, but Davis played her as a cold, conniving, calculating woman wearing a death mask of white powder she insisted makeup artist Perc Westmore create for her.[7]
In her autobiography, A Lonely Life, Davis gave a different version about having to see Bankhead in the play. "A great admirer of hers, I wanted in no way to be influenced by her work. It was Willie's intention that I give a different interpretation of the part. I insisted that Tallulah had played it the only way it could be played. Miss Hellman's Regina was written with such definition that it could only be played one way."[8] "I had to do that part exactly the way Tallulah did it, because that's the way Lillian Hellman wrote it. But I was always sad that Tallulah couldn't record Regina from the theatre, because she was marvelous."
Charles Dingle, Carl Benton Reid, Dan Duryea, and Patricia Collinge all reprised their critically acclaimed Broadway performances. Critics preferred Bankhead's rendition of the role to Davis's, though the supporting cast was highly praised. The character of David Hewitt was not in the original play. Hellman created him to add a second sympathetic male to stand alongside Horace among all the venomous Hubbard men.
Davis and Wyler frequently fought during filming, about everything from her appearance (Wyler thought she looked like a Kabuki performer, but Davis wanted to look older than her age as the part was written for a 40-year-old) to the set design (which Davis thought was far too opulent for a family supposedly struggling financially) to her interpretation of the role (Wyler wanted a more feminine and sympathetic Regina, akin to Tallulah's interpretation). Davis had yielded to Wyler's demands during production of The Letter, but this time she held her ground. Not helping the situation was the fact Los Angeles was experiencing its worst heat wave in years, and the temperature on the soundstages regularly rose above 100 degrees. Davis finally walked off the picture. "It was the only time in my career that I walked out on a film after the shooting had begun," she later recalled. "I was a nervous wreck due to the fact that my favorite and most admired director was fighting me every inch of the way ... I just didn't want to continue."[5] The actress retreated to her rented house in Laguna Beach and "flatly refused to come back to work. It took a little courage, to say the least. Goldwyn had it in his power to sue me for the entire cost of the production."[5] A week later she returned to the set after rumors she would be replaced by Katharine Hepburn or Miriam Hopkins began to circulate, although Goldwyn was not about to bear the expense of scrapping all the footage with Davis and refilming the scenes with a new actress.[7] Even though the film was a critical and commercial success and nominated for nine Academy Awards, she and Wyler never worked together again.[4][5][7] The film premiered at Radio City Music Hall in New York City. The New York Times reported it was seen by 22,163 persons on its opening day, setting what was then an all-time attendance mark for a normal opening day at the theatre.[9]
Lillian Hellman's grim and malignant melodrama... has now been translated to the screen with all its original viciousness intact ... [It] leaps to the front as the most bitingly sinister picture of the year and as one of the most cruelly realistic character studies yet shown on the screen ... Mr. Wyler, with the aid of Gregg Toland, has used the camera to sweep in the myriad small details of a mauve decadent household and the more indicative facets of the many characters... Miss Davis's performance in the role which Talluluh Bankhead played so brassily on the stage is abundant with color and mood... she does occasionally drop an unmistakable imitation of her predecessor... Better than that, however, are the other members of the cast. Charles Dingle as Brother Ben Hubbard, the oldest and sharpest of the rattlesnake clan, is the perfect villain in respectable garb. Carl Benton Reid as Brother Oscar is magnificently dark, sullen and undependable. Patricia Collinge repeats her excellent stage performance... The Little Foxes will not increase your admiration for mankind. It is cold and cynical. But it is a very exciting picture to watch in a comfortably objective way, especially if you enjoy expert stabbing-in-the-back.[10]
From starring Bette Davis down the line to the bit roles portrayed by minor Negroes the acting is well nigh flawless ... Marshall turns in one of his top performances ... On top of the smooth pace, Wyler has handled every detail with an acutely dramatic touch.[11]
Box office
According to RKO records, The Little Foxes took in $1,317,000 in theater rentals from the United States and Canada and an additional $850,000 from foreign rentals,[2][3] but because of the favorable terms Sam Goldwyn enjoyed with distributor RKO, RKO recorded a loss of $140,000 on the film.[12]
The Little Foxes was presented February 11, 1946, on Screen Guild Theatre. The 30-minute adaptation starred Davis, Wright and Dingle in their roles from the film.[13] Tallulah Bankhead (reprising her Broadway role) also gave a radio adaptation.[citation needed]
All About Eve is a 1950 American drama film written and directed by Joseph L. Mankiewicz, and produced by Darryl F. Zanuck. It is based on the 1946 short story "The Wisdom of Eve" by Mary Orr, although Orr does not receive a screen credit.
Dark Victory is a 1939 American melodrama film directed by Edmund Goulding, starring Bette Davis, and featuring George Brent, Humphrey Bogart, Geraldine Fitzgerald, Ronald Reagan, Henry Travers, and Cora Witherspoon. The screenplay by Casey Robinson was based on the 1934 play of the same title by George Brewer and Bertram Bloch, starring Tallulah Bankhead.
William Wyler was a German-born film director and producer. Known for his work in numerous genres over five decades, he received numerous awards and accolades, including three Academy Awards. He holds the record of twelve nominations for the Academy Award for Best Director. For his oeuvre of work, Wyler was awarded the Irving G. Thalberg Memorial Award, the Directors Guild of America Lifetime Achievement Award, and the American Film Institute Life Achievement Award.
Ruth Elizabeth "Bette" Davis was an American actress of film, television, and theater. Regarded as one of the greatest actresses in Hollywood history, she was noted for her willingness to play unsympathetic, sardonic characters and was known for her performances in a range of film genres, from contemporary crime melodramas to historical and period films and occasional comedies, although her greatest successes were her roles in romantic dramas. She won the Academy Award for Best Actress twice, was the first person to accrue ten Academy Award nominations for acting, and was the first woman to receive a Lifetime Achievement Award from the American Film Institute. In 1999, Davis was placed second on the American Film Institute's list of the greatest female stars of classic Hollywood cinema.
The Little Foxes is a 1939 play by Lillian Hellman, considered a classic of 20th century drama. Its title comes from Chapter 2, Verse 15, of the Song of Solomon in the King James version of the Bible, which reads, "Take us the foxes, the little foxes, that spoil the vines: for our vines have tender grapes." Set in a small town in Alabama in 1900, it focuses on the struggle for control of a family business. Tallulah Bankhead starred in the original production as Regina Hubbard Giddens.
Watch on the Rhine is a 1943 American drama film directed by Herman Shumlin and starring Bette Davis and Paul Lukas. The screenplay by Dashiell Hammett is based on the 1941 play Watch on the Rhine by Lillian Hellman. Watch on the Rhine was nominated for the Academy Award for Best Picture and Paul Lukas won the Academy Award for Best Actor for his performance as Kurt Muller, a German-born anti-fascist in this film.
Muriel Teresa Wright was an American actress. She won the 1942 Academy Award for Best Supporting Actress for her role as Carol Beldon in Mrs. Miniver. She was nominated for the same award in 1941 for her debut work in The Little Foxes. Also in 1942, she received a nomination for the Academy Award for Best Actress for her performance in The Pride of the Yankees, opposite Gary Cooper. She is also known for her performances in Alfred Hitchcock's Shadow of a Doubt (1943), and in William Wyler's The Best Years of Our Lives (1946).
Lillian Florence Hellman was an American playwright, prose writer, memoirist and screenwriter known for her success on Broadway, as well as her communist views and political activism. She was blacklisted after her appearance before the House Committee on Un-American Activities (HUAC) at the height of the anti-communist campaigns of 1947–1952. Although she continued to work on Broadway in the 1950s, her blacklisting by the American film industry caused a drop in her income. Many praised Hellman for refusing to answer questions by HUAC, but others believed, despite her denial, that she had belonged to the Communist Party.
Tallulah Brockman Bankhead was an American actress. Primarily an actress of the stage, Bankhead also appeared in several films including an award-winning performance in Alfred Hitchcock's Lifeboat (1944). She also had a brief but successful career on radio and made appearances on television. In all, Bankhead amassed nearly 300 film, stage, television and radio roles during her career. She was inducted into the American Theater Hall of Fame in 1972 and the Alabama Women's Hall of Fame in 1981.
Katie Scarlett O'Hara is a fictional character and the protagonist in Margaret Mitchell's 1936 novel Gone with the Wind and in the 1939 film of the same name, where she is portrayed by Vivien Leigh. She also is the main character in the 1970 musical Scarlett and the 1991 book Scarlett, a sequel to Gone with the Wind that was written by Alexandra Ripley and adapted for a television mini-series in 1994. During early drafts of the original novel, Mitchell referred to her heroine as "Pansy", and did not decide on the name "Scarlett" until just before the novel went to print. PBS has called O'Hara "quite possibly the most famous female character in American history..."
These Three is a 1936 American drama film directed by William Wyler and starring Miriam Hopkins, Merle Oberon, Joel McCrea, and Bonita Granville. The screenplay by Lillian Hellman is based on her 1934 play The Children's Hour.
Cathy O'Donnell was an American actress who appeared in The Best Years of Our Lives,Ben-Hur, and films noir such as Detective Story and They Live by Night.
Eileen Cecilia "Patricia" Collinge was an Irish-American actress and writer. She was best known for her stage appearances, as well as her roles in the films The Little Foxes (1941) and Shadow of a Doubt (1943). She was nominated for an Academy Award and won a NBR Award for The Little Foxes.
Regina is an opera by Marc Blitzstein, to his own libretto based on the play The Little Foxes by Lillian Hellman. It was completed in 1948 and premiered the next year. Blitzstein chose this source in order to make a strong statement against capitalism. In three acts, the musical style has been described as new American verismo, abounding in the use of spirituals, Victorian parlour music, dance forms, ragtime, aria and large, symphonic score.
Fanatic is a 1965 British horror thriller film directed by Silvio Narizzano, and starring Tallulah Bankhead, Stefanie Powers, Peter Vaughan, Yootha Joyce, Maurice Kaufmann and Donald Sutherland. It was written by Richard Matheson based on the 1961 novel Nightmare by Anne Blaisdell.
Of Human Bondage is a 1934 American drama film directed by John Cromwell and regarded by critics as the film that made Bette Davis a star. The screenplay by Lester Cohen is based on the 1915 novel Of Human Bondage by W. Somerset Maugham.
Carl Benton Reid was an American actor.
Mary Eugenia Rawls was an American actress.
Tarnished Lady is a 1931 American pre-Code drama film directed by George Cukor and starring Tallulah Bankhead and Clive Brook. The screenplay by Donald Ogden Stewart is based on his short story, A Story of a New York Lady.
Faithless is a 1932 American pre-Code romantic drama film about a spoiled socialite who learns a sharp lesson when she loses all her money during the Great Depression. The film stars Tallulah Bankhead and Robert Montgomery and is based on Mildred Cram's novel Tinfoil, which was the film's working title.
1 2 Jewell, Richard B. (1994). "RKO Film Grosses, 1929-1951: the C.J. Tevlin ledger". Historical Journal of Film, Radio and Television. 14 (1): 37–49. doi:10.1080/01439689400260031.
1 2 Jewell, Richard B. (1994). "Appendix 1". Historical Journal of Film, Radio and Television. 14 (S1): 1–11. doi:10.1080/01439689408604545.
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