A woman discovers her husband has another family in another city.
A woman discovers her husband has another family in another city.
Joan Fontaine Ida Lupino Edmund Gwenn Edmond O'Brien Kenneth Tobey Jane Darwell Peggy Maley Lillian Fontaine Matt Dennis John Maxwell Bess Flowers Walter Bacon Ralph Brooks Jack Chefe Kem Dibbs Ken Drake Jerry Hausner Donald Kerr Mike Lally Mac McKim Monty O'Grady James Todd Mack Williams Collier Young James Young Lilian Fontaine
El bígamo, Bigamie, La grande nebbia, Bitter kärlek
In the Code-era, a film like this should really not have ended this way. The implications of it are far more complex than I would have expected of a film forced to punish bigamy (though I assume it would have probably done so anyway). It dares to hint that love might be more complicated than marriage, and it has a fairly strong condemnation of the hypocritical view of adultery vs. bigamy (though it seems to suggest condemning adultery more than loosening the condemnation of bigamy). I feel like I am spoiling it, so I will stop the roundabout analysis. Suffice to say, the film's view of love is more intelligent, if not the ideal I'd like, than I expected.
52 project: 51/52 *
* One film not in database will be added as soon as it shows up, hopefully.
"When a man, even with the best intentions, breaks the moral laws we live by, we really don't need man-made laws to punish him."
I hate to saddle the only female director in the film noir universe with the "sensitive" descriptor, but it's one of the first words that come to mind when considering this. Lupino has such sincere empathy for all of these characters, and this has to be one of the most dramatically ambitious movies of the studio era for the way it sets up a situation for which no emotionally satisfactory resolution is possible, then follows it to the bitter, unsatisfying end.
In its own way, this is almost as tense and suspenseful as The Hitch-Hiker.
"I never expected to see Phyllis again, but I knew I'd remember this day—when two strangers helped each other through a lonely Sunday."
Though by 1949 Ida Lupino had already assumed the remarkable mantle of being the only woman directing theatrical features in Hollywood (with Dorothy Arzner having retired from filmmaking in 1943), she staked a further claim to history in 1953 with The Bigamist—in which Lupino became the first woman to ever star in an American feature film of her own direction. In a brazen demonstration of the proverbial dictum to "write what you know", the screenplay fashioned by producer Collier Young (with Lawrence B. Marcus and Lou Schor) provocatively excavates biographical details regarding his former marriage to Lupino…
“of course i support men’s rights. men’s rights to shut the fuck up.” - ida lupino
"Let's not wait, Eve," says Edmond O'Brien's traveling salesman to his wife midway through The Bigamist. He's enjoining her to take a trip with him, wishing she'd pull him away from California and the other woman he's been seeing. "Our marriage is the only thing that really matters." Joan Fontaine, playing Eve, smiling up at him from her separate bed. She's framed so that she stretches diagonally across the screen, in a shot so tight you can see the sinews in her arms and where her nightgown bunches around the middle. "I love our marriage," she replies, yawning, and rolls away from him and the camera to lie facing the window.
That only describes about ten seconds of this noir…
even as ur thinking 'this guy is freakin idiot,' the performances + feelings conveyed are entirely convincing...ended up being more modern and ambiguous than i was expecting!
movies have been showing men are trash since 1953 and yall still don’t listen to us 😾
this is either a dull defense of awful misogynist behavior or a very subtle critique of it, a strong argument could be made for either, which is pretty fascinating. it mostly comes across as an indictment of the oppressively busy world that makes people lonely rather than of the man who can't help himself. Edmond O'Brien thankfully comes off as much less of an entitled asshole than he does in D.O.A., and the movie never paints him as some sort of tortured soul in a "bitches be crazy" situation who's acting heroic by doing a terrible job of covering his ass (for that plot see: LOCKE). the worst thing this guy does isn't falling in love with someone else, it's…
This was an interesting watch. It didn’t play into any of my expectations going in— something along the lines of a thriller or an intense drama. Instead, Ida Lupino offers a more psychological angle to this story, and I appreciated this approach so much more than if the film had met my original expectations. The whole thing worked for me, especially in the way it explored taboo subjects in regards to the contemporary times. Lupino is of course the key to all of this. Judging by the reviews, perhaps her execution of this film wasn't as effective to many viewers, but I dug it quite a lot.
Directed and starring English-American actress, singer, director and producer Ida Lupino, The Bigamist is raised from mere melodrama to a delicate portrayal of one man and his two marriages because of its components in characterisation. Associating here with Lupino is Joan Fontaine, Edmond O’Brien and Edmund Gwenn, and which amusingly includes several in-jokes citing Gwenn's most well-known role, portraying Kris Kringle in Miracle on 34th Street. This is a striking even-handed movie that unexpectedly stands upon an emotional neutral ground scarcely seen in Hollywood movies from this era.
A simple story of a man living a scandalous life of bigamy, The Bigamist is surprisingly ambiguous and thoughtful. It presents heartbreak and a moral crisis, but lingers on the emotions. For a film about multiple wives, it feels very lonely. The opening act is conspiratorial, as the bigamy is revealed through a ridiculously thorough investigation required to adopt a child. The Bigamist is well made and driven by definable emotions. It is not a massively complicated film, but it hits most of the right notes.
Prefigures Mad Men in a lot of interesting ways -- the ennui-filled businessman torn between various women who can't fulfill him. Always consuming, never sated, doomed from the start and trudging along any way he can. Neat to see this perspective arise from the period itself and not retrospectively. Ida Lupino is astounding.
Man was sad and lonely while women were working and independent.
no fucking idea what happened in this movie but I love women happy international women's day everyone
feels like a pretty progressive presentation of love as something that can exist outside of biblical and state laws which is very cool to see from the 1950s. i’m forever fascinated by the way directors tried to push boundaries but still get their films made. this film feels both incredibly feminist and progressive and still misogynistic which is just so weird to watch.
that’s about all i have to say about this movie but it was pretty darn cool and quite baller to see a female director in america in the fifties.
Really liked this one! Not the most clever story but I really like how Lupino tells it and the performances are all great
- I can't believe it! I can't be... how could a man like you... successful, admired... get into a position as... as vile as this?
- How? I don't know. I don't know how. Loneliness, I guess. Have you had to spent half you life living in hotel rooms, eating in restaurants with... with only a newspaper for company, walking the streets looking for a movie you haven't seen?
"When a man, even with the best intentions, breaks the moral laws we live by, we really don't need man made laws to punish him. He'll find out that the penalty of the court is always the smallest punishment."
man are trash ❤️
Eve (Joan Fontaine, Rebecca) and Harry (Edmond O'Brien, 711 Ocean Drive) Graham are looking to adopt a child. Filling out paperwork in the office of Mr. Jordan (Edmund Gwenn, Miracle on 34th Street), Harry seems reluctant to sign the "yes you may investigate my entire personal life to see if I will be fit to raise a child" form. What secret could this man possibly be hiding, in a film titled "The Bigamist"?
The answer is of course Phyllis (Ida Lupino, High Sierra), which Mr. Jordan tracks down rather quickly. The vast majority of the rest of the film is a flashback, with voiceover from Harry, covering how his relationship with Phyllis came to be.
And it's a considerably more…
my motherly instincts were suffering!!!!!!!
really enjoyed, very easy to watch movie that brings up some love related themes that i’m not used to think about, pretty photography.
Eve and Phyllis should raise Danny together <3
“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.”
i despise you... and i pity you
i think i need therapy after this
the other woman by lana del rey starts playing
se inspiraría bad gyal en el bígamo para componer zorra?
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