Lupino's last two Filmmakers outings dealt not with adolescent girls but with middle-aged men. In Edmond O'Brien, the perpetually pressured 'middleman' of the 50's, Lupino found the perfect embodiment of another form of passivity.The Bigamist finds himself caught between two complementary spouses: Joan Fontaine, sterile wife of eight years, who sublimated her desire for children into a full-time career in her husband's business; and Ida Lupino, a lonely woman whom he meets, has a child by and marries. As always in Lupino, there is a strong sense of class difference. Fontaine is a 'lady' from an upper-crust, patrician family, reverently attached to her dying pater and all he represents (shades of Suspicion) Lupino, on the other hand, is a working woman, waitressing in a joke Chinese restaurant and wryly enjoying the joke, with a lived-in self-possession none of the Lupino-directed child-women could hope to attain Fontaine is seen in multi-room, large. open, light-filled places, while Lupino is seen in much smaller, more darkly intimate and somewhat shabby surroundings (Lupino reputedly using two different cameramen for the two different women).