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Undercurrent (1946)

Filmnoir | 116 minutes
3,00 21 votes

Genre: Filmnoir / Thriller

Duration: 116 minuten

Country: United States

Directed by: Vincente Minnelli

Stars: Katharine Hepburn, Robert Taylor and Robert Mitchum

IMDb score: 6,5 (3.826)

Releasedate: 11 November 1946

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Undercurrent plot

"An Irresistible Force That Draws a Man and Woman Together!"

Ann Hamilton is in heaven when she marries wealthy industrialist Alan Garroway. Her happiness soon fades as she becomes more and more engrossed in Alan's long-lost brother, Michael. She has the feeling that Alan may have killed his hated brother...

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Alan Garroway

Michael Garroway

Professor Hamilton

Sylvia Burton

Joseph Bangs

Mrs. Foster

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Bobbejaantje

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Relational drama in which Katherine Hepburn outclasses everyone as far as I'm concerned. She smoothly and naturally switches from one emotion to another during her marriage to Robert Taylor. Taylor for his part occupies a close second place, as a narcissistic psychopath he impresses with a kind of restrained temperament that occasionally bubbles like a small volcano. The look in his eyes is lifelikely menacing at times. And then we have Robert Mitchum, for whom MGM imposed a hefty sum on RKO to borrow him for a while. Correspondingly, he doesn't have that much screen time, only appears in the second half of the film and remains a supporting actor. He doesn't impress me much here. May also have to do with the kind of role that he walks a bit like a rake.

The screenplay is a typical Hollywood product of that time, shall we say. At times it overflows with implausible high romance (such as the idea that Hepburn falls in love with a man she only knows from some personal stuff and ideas without having seen him) that you as a viewer have to go along with to keep it entertaining. Verily there are some catchy scenes. Stand out for me: the memorable meeting between Taylor and Mitchum at the horse stables at night and day, as well as the finale with the horse ride.

Excellent direction by Vincente Minnelli (it was his second drama film) as well as excellent camera work by the fairly legendary Karl Freund. When his name rolled over the screen at the credits I suspected that it would be ok with lighting and the like and that turned out to be the case. You can enjoy the subtle but manipulative shades of light in which the film is bathed.

Conclusion. Not a masterpiece but certainly not bad either, there is too much quality on and next to the screen for that.

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