Correntes Ocultas

"Undercurrent" is a surprisingly effective mystery/"chick flick," given elements that could have sunk a lesser effort. For example:

o Dr. Bangs gives away one of the movie's secrets VERY early in the plot (Before Hepburn marries Taylor) o The behavior of some of the supporting players (for example, Mr. Warmly's first scene) aren't really consistent with the denouement o Katherine Hepburn, at 39, is not an altogether convincing object of desire for her younger costars o While Robert Taylor gives a great performance, the first hints of his instability come too early in the film o Third billed Robert Mitchum has about five minutes screen time and his character has no part of the physical action.

Perhaps, if it were not for the tremendous skill with which "Undercurrent" has been acted and directed, these apparent shortcomings might have mattered more. Certainly, casting Taylor and Mitchum against type was a stroke of genius. Further, the more one watches Katherine Hepburn's brilliant performance, the more one realizes "Undercurrent" would have been far less successful using a more "age appropriate" actress, unless she were equally skilled (Olivia De Havilland? Joan Bennett?). However, in addition to brilliant acting, Hepburn carries a cool, self-assured demeanor as part of her persona; which makes her apparent helplessness later in the film much more suspenseful, if not downright terrifying. Given that Hepburn is in virtually every scene, it's really Hepburn's movie and she doesn't disappoint.

I give "Undercurrent" a "7".

Something of a success, something of a misfire. Katharine Hepburn, Robert Taylor, and Robert Mitchum are all cast against type in this noirish movie made in the style of THE STRANGER, GASLIGHT, and even REBECCA in which a shy woman marries a man with a dark story surrounding him. It looks lush in its black and white visuals and takes its time to get to the tight noose of its plot. However, the middle-of-the road aspect of UNDERCURRENT comes mostly because to believe Katharine Hepburn, of all women, would be this passive person with little to no self-assurance and essentially be a damsel in distress -- a role Joan Fontaine or Joan Crawford could phone in while garnering Oscars -- would be to extend the suspension of disbelief to unbelievable levels. I can see why she'd agreed to take on the role of Ann Hamilton: like any actor, it would give her a chance to extend her range and prove she could pull it off. Both Roberts fared better to varying degrees: Taylor, a thirties heartthrob, had that rich voice and those dark looks that could convincingly translate into playing the complete opposite of the leading man. Mitchum, on the other hand, never known to play an overall nice guy, does just that here. Does it work? Not as well as Taylor, especially when over the years he made a name playing some of the most memorable villains in film history in NIGHT OF THE HUNTER and CAPE FEAR. Here, Mitchum gets little to do, and must concede the scene stealing to Taylor who all but ties Hepburn to the train tracks while twitching that mustache of his and sneering. A nice surprise was to see Jayne Meadows making her film debut by playing a woman who also resembles Hepburn and has some interesting information to give Hepburn about Taylor and Mitchum.

What a cast! Hepburn, Robert Taylor and Robert Mitchum! Hepburn here is paired with Robert Taylor, a scientist, who seems to have some very nervous employees and some sensitive areas, one concerning an absent brother, Michael. When Hepburn meets one of Taylor's old girlfriends, a very well cast Jayne Meadows, she becomes suspicious of Taylor's motives for marrying her - and suspicious about what happened to Taylor's brother.

Hepburn gives her usual intelligent performance, showing a vulnerable, feminine side that is very appealing. There is a scene in a fitting room where she is absolutely stunning. The scenes between her and her father, played by Edmund Gwenn, are delightful and realistic, as she complains that Taylor could not be attracted to her. "Look at me," she demands, "what do you see? " Her father smiles and says "Beautiful" and kisses her. It's this type of gentleness coupled with good acting, underlying suspense and excitement that makes Undercurrent a very good -- and very underrated -'40s film. Taylor is handsome and enigmatic in his role. Somewhere along the way, he stumbled into playing bad boys, as he does later on in "Conspirator" as well, and these roles suit him. Hepburn once said that Spencer Tracy made her seem very feminine; Taylor does too.

I have to add that I did find the casting quite odd but inspired, with Hepburn and Mitchum cast against type, and Hepburn paired with Taylor. I wish we had seen more of this in Hollywood.

The first time I saw undercurrent, I was as disturbed as everyone else by the soporific pacing.

Having just seen it for the second time, I have to say that there is much detail to enjoy. As in most Minnelli pictures, I enjoyed the awkward party scenes, in which elegant extras enjoy themselves while the principals cringe.

Katharine Hepburn is in her "insecure" mode, like in Summertime, and she is very good. The role would have been more natural for, say, Jeanne Crain.

Most enjoyable is Jayne Meadows, as a cold fish you can't quite figure out. She is incredibly beautiful in the ladies'lounge scene. Both her scenes with Hepbburn crackle with 1940s psychological intensity.

All of the criticisms of this movie might well be flushed down the loo. This is one powerhouse of an interesting movie.

Call it Film-Noir. Call it Mystery/Suspense. Call it Psychological Thriller. Call it what you may...I call it: absorbing drama.

It moves very deliberately...and the facts are revealed one by one, in true mystery fashion, until the fantastic, thrilling ending.

Those who say that Hepburn and Mitchum were miscast are just so wrong. Hepburn wasn't playing Hepburn here...she wasn't Tracy Lord here. She wasn't a know-it-all New England uppity snob here. Not a worldly character at all. She played a different character than I've ever seen her do. Hepburn doesn't rely on her stable of clichés to capture our imagination here. She does it with imagination and as few of the Hepburn cornerstone mannerisms as possible. Good result!

Robert Taylor is fascinating to watch. He has so many secrets in this role. And they reside behind his facade for us to watch and enjoy. He slowly swirls into controlled mania and desperate determination. Very fine, indeed. He should have been nominated for this one.

And then there's Mitchum! What can one say about Mitchum without gushing foolishly. Gee whiz...the first time you see him...he shows us a side of him we have hardly ever seen! He seems at peace, mild in character, mellow in mood...pensive...other worldly. Likable even! Never gruff or abrasive like we've seen him so many times before.

What is unique about this story is that we really do not know what is going to happen next. We spend most of the movie residing in Hepburn's character's mind. Her wondering, her confusion, her search for the truth -- at all costs.

I was expecting not to like this movie. I was expecting it to be another formulaic Hepburn vehicle about high society. But this is where this movie takes a left turn into an underrated mystery.

I enjoyed the use of the theme to the Third Movement of Johannes Brahms' Third Symphony throughout the movie. It lent a delicious air of mystery, love and luscious pastoral passion to the whole affair.

And to say that Vincente Minnelli was WRONG for this movie? Gee whiz! He was perfect! Why compare him to Hitchcock? Minnelli has manufactured a mystery world all his own. Sure there are devices. All movies have devices. But they are handled so deftly...we don't rely on them to make us aware of the story -- they don't get in our way. They heighten our interest and this very absorbing plot.

Well done. I wish it had been a longer movie...it was THAT kind of movie.

I recommend this one...