“In The Bigamist, … no one gets beaten up or shot. No one robs a bank or a payroll, and the culprit’s downfall is signaled by nothing more violent than a baby’s sudden cry from out of the dark. Yet it qualifies as a noir, this smoky, black-and-white study in human failure, thwarted desire, and quiet desperation. When you add that The Bigamist is implicitly critical of the conventional moral standards governing romantic triangles, you get a sense of what distinguishes Ida Lupino’s films, as well as why I have dubbed her ‘the First Lady of noir.'” – The American Scholar
