Two days ago we discussed Katherine Hepburn’s cinematic output and noted that Undercurrent was one of the few movies that qualified as pulp-style. We watched it last night and it falls into the always fun husbands-with-dark-secrets sub-genre. Hepburn marries into a rich San Francisco family and quickly finds that her hubby Robert Taylor is prone to sudden rages whenever he’s reminded about aspects of his past. You know the drill: “Who was playing that song! Who’s here? Was it you? Where did you learn that song!” Taylor is particularly sensitive with regard to his estranged possibly dead brother, and so are Taylor’s employees, his domestic staff, and even his friends. Seems everyone is in on the secret except Hepburn. In typical suspense movie fashion, she decides to solve that problem by digging deeper.
Undercurrent is categorized on many websites as a film noir, because that’s where people’s minds go if there are any night scenes or shadows in a black and white flick, but you may be disappointed if you have such expectations. It’s categorized as suspense drama by the American Film Institute, which we consider correct. You could even categorize it as a romantic suspense drama, one with shades of Alfred Hitchcock’s 1940 film Rebecca. But on the other hand, since film noir is more a mood than a genre, there’s always room for debate concerning whether a film should or shouldn’t be included. For us, Undercurrent shouldn’t. Two sequences bear some visual elements of film noir, and there’s a brief nightmare interlude, but without the overarching cynicism and desolate central characters, we don’t think it’s a good fit.
Hepburn, who was probably never cynical or desolate in her entire career, occupies nearly every frame of Undercurrent and gives an emotional, almost melodramatic performance as a wife whose loyalty and belief in her husband are tested. To succeed fully in her role, she’d have needed better chemistry with Taylor, and the script and plot would have needed to be scintillating. None of those things happen, which means Hepburn isn’t given the tools required to anchor the film. Even so, she gives it a hell of a go, and her efforts make it watchable. For her fans this one is a no-brainer—queue it up. For more general film buffs, you can probably take a pass. Undercurrent premiered today in 1946.
Inside Story scribe Manuel Shaw describes an allegedly typical scene: “Mickey Mantle, Phil Rizzuto, and several other Yankees were sitting around the lobby of the hotel when three lovelies from a nearby night spot showed up. Since the cuties were entertainers familiar to one or two of the players, and were rabid Yankees boosters, it was not remarkable that they were soon in animated conversation with the group, which shortly adjourned from the lobby to an upstairs suite.”
