Maidexpl Entertaining from beginning to end, it maintains the spirit of the franchise while establishing it's own seal with a fun cast

CrawlerChunky In truth, there is barely enough story here to make a film.

Humaira Grant It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

Mandeep Tyson The acting in this movie is really good.

WSteG-iMac Ida Lupino, born into a British show business dynasty, was as convincing as any foreign player at passing for American in movies. What's more, she got to direct seven features, unheard of for a woman in the late 1940s and '50s. The Bigamist was the last of consequence; probably the best is The Hitch-hiker of 1953.The major problem with the movie under review is its title. If we didn't know this fact about Edmond O'Brien until it transpired in the plot, we would have had a lot more to bite on. So the extended play between O'Brien and Lupino (as actress) loses tension because we already know how it will play out. What's more, most of the story is told in flashback, which means that there is other information we carry right through the movie that we would have found more nourishing to gain later. It cries out to be told chronologically, with the arrival of Edmund Gwenn postponed until much later. And indeed the opening sequence in Gwenn's office is directed over-emphatically by Lupino, pointing us towards concerns about O'Brien's character.A small issue but one that diminishes the film concerns the coy remarks, occurring in two separate scenes, about Miracle on 34th Street and Gwenn's role in it. Indeed, that O'Brien and Lupino meet on a studio tour bus interrupts the sequence with name-dropping to no useful purpose.But I want to end positively. The acting is first rate - Joan Fontaine is especially good in what could easily have become a thankless role - and the willingness to tackle difficult material (including out-of-wedlock pregnancy) is wholly admirable.

Richie-67-485852 It was breakthrough for its time to discuss and then act out this type of subject matter. It existed and people gave it thought but never in detail. It was forbidden but necessary. Remember, back in that day, it was a disgrace as Edmond Gwen's dialog in the movie clearly describes. Also, to bring another subject into it that is equally as powerful namely children puts this movie ahead of the times including times to come. Today, we have more random Hollywood whoredom going on without a second thought with men preying on women like it is natural to do and women going along too. But yesterday, it was unheard of and the subject got more respect. Enthralling, tense and entertaining on the emotional, mental and psychological levels, there is no let up as the story unfolds leaving one looking for comfort, rest or respite. Popcorn would help give the fingers and the mouth something better to do than chew a few nails here. Have a tasty drink and snack standing by and no breaks, cell phone or discussion until movie is over. Treat yourself to an oldie but truly goodie movie here. Fond thoughts to all actors and director too. Well done

Spikeopath The Bigamist is directed by Ida Lupino and adapted to screenplay by Collier Young from a story by Larry Marcus and Lou Schor. It stars Lupino herself with Edmund O'Brien, Joan Fontaine, Edmund Gwenn and Kenneth Tobey. Music is scored by Leith Stevens and cinematography by George Diskant.Harry Graham (O'Brien) tells adoption agency inspector Mr. Jordan (Gwenn) how he came to have two wives. One in Los Angeles (Lupino), the other in San Francisco (Fontaine).Initially released as part a double bill with Lupino's The Hitch-Hiker, The Bigamist is the lesser known film and the lesser thought of picture at that. Where The Hitch-Hiker is a more aggressive and claustrophobic noir picture, The Bigamist is more a Sirkian melodrama with noir touches. What transpires in the gifted hands of noir darling Lupino is a film examining a complex male protagonist, a guy suffering desperately from loneliness and alienation, his only moments of happiness comes in the arms of two women. If this sounds like Lupino is taking a sympathetic approach to Harry Graham? Then yes that is true, but he is portrayed as being morally ambiguous and weak, with the deft insertion of fate's deadly hand into the story as Harry tries on occasions to do the legal and right thing."I can't figure out my feelings towards you, I despise you, and I pity you. I don't even want to shake your hand, and yet I almost wish you luck." Once the story reaches the pinnacle, female parties are left dislocated, hurt and confused about their emotions, Harry is crushed, and we believe his pain because he is not a selfish bastard. Some of the most telling passages of dialogue come from other men, Gwenn's agency inspector and the Judge (John Maxwell) presiding over the court case, these helping to not stereotype the Graham character. The finale also refuses to take an easy way out, it's left deliberately ambiguous, the final shot open ended. Shot at real L.A. and Frisco locations, film has some nice visual touches. Harry in shadowy hotel rooms, his lonely walks down town, while venetian blinds feature and a shadowed bathed staircase banister showcases the talents of Diskant (On Dangerous Ground/The Narrow Margin/Kansas City Confidential). It's not an overtly film noir picture visually, but there are snatches in the mix. Cast are bang on form, with O'Brien particularly impressive when portraying conflicted emotions.It's not perfect, strong characters the lead trio may be, but they are all so nice, there's no edge there. There's an inside joke that comes off as flat and misplaced, while Stevens' score is often intrusive in desperately trying to set up emotional impact. But these are small complaints that don't stop the picture's great strengths from storming through to hold the attention. It's an interesting picture, a cautionary tale choosing to analyse rather than point the finger. It deserves to be more well known these days and certainly shouldn't be viewed as an apology for Bigamy. 7.5/10

adamshl What's a screen writer to do here? At the end of "The Bigamist" the judge defers announcing his decision until sometime in the future. While this may seem a writing cop out, what's the alternative? Since in this country every state law terms bigamy illegal, it would be unrealistic to have a finale in which a judge fully acquits the accused. At the same time, the writer has presented a pretty sympathetic case for our hero, played expressively by Edmond O'Brien. Likewise, the judge's final comments imply some possible leniency forthcoming. The script allows for no discussion about the rationale for such law in the first place; thus, the basic assumption is made that such practice is most unbeneficial for society. Personally, I would have valued such discourse, perhaps from the adoption officer, craftily played by Edmund Gwenn.Ida Lupino and Joan Fontaine round out a stellar cast, all of whom work together with great emotional sensitivity. Unfortunately, the script isn't quite up to the level of these fine talents, and it is this drawback that ultimately diminishes the total value of "The Bigamist."