Lillian Hellman’s landmark 1934 play “The Children’s Hour” has twice been adapted for the big screen, both times by director William Wyler, and neither film really did right by it. The Hays Code could be blamed for the absurdly straightwashed watering-down of the 1936 version “These Three,” and while 1961’s “The Children’s Hour” could be more open about the same-sex attraction driving its tragedy of ruinous gossip, it was still timidly ginger around the subject. In her handsome, stirring