UNDERCURRENT

US, 1946, 116 minutes, Black and white.
Katharine Hepburn, Robert Mitchum, Robert Taylor, Edmund Gwenn, Marjorie Main, Jayne Meadows, Clinton Sundberg.
Directed by Vincente Minnelli.

Undercurrent was directed by Vincente Minnelli, director of many acclaimed musicals (Meet Me In St Louis, The Pirate, Gigi, An American in Paris). He also directed a number of melodramas including The Bad and the Beautiful, Two Weeks in Another Town. Here he enjoys a familiar story, the innocent wife marrying for love and finding that her husband is insane (shades of Gaslight). However, Minnelli's direction and the strong cast are better than the familiar material. Katharine Hepburn is vivacious as the wife. Robert Taylor (back from World War Two) is suitably handsome and sinister. It is a surprise to see Robert Mitchum, in an early role, as the sympathetic, more poetic brother. The strong supporting cast includes Edmund Gwenn as Hepburn's father, Marjorie Main as the maid with comments and Jayne Meadows as the rejected woman.

The film also uses a theme from Brahms which gives it a romantic atmosphere. It is very entertaining because of its ingredients rather than the familiarity of the plot (although Robert Taylor being trampled to death by a vicious horse was strong stuff for romantic melodramas of 1946).

1. Popular romantic melodrama of the '40s? Stars? Style?

2. MGM values, black and white photography, locations, stars? Musical score and the variation on the Brahms theme?

3. The title, Alan's behaviour, treacherous? Michael and his explanation of the sea, seemingly calm and beautiful, the deadly undercurrent?

4. The portrait of Anne: Katharine Hepburn's presence and style? Awkward and self-conscious, dowdy? Love for her father? Friendliness with Joe, clashes? Lucy and her pressuring of Anne? At home, the laboratory, the meals for the dog? The visit of Alan, her attraction, self-consciousness? The dinner, talking, angry about the criticisms of him? Joe and the accuracy of his criticisms? Her father supporting her? The wedding, her happiness, leaving home? The bond with her father? Going to Washington, naive and romantic, her married name? The party, her dowdy dress? People and their courtesy, her awkwardness at the party? The change of clothing, her husband buying the model dresses for her? Her transformation? His work, his reputation, her seeing herself in his light? The neighbour and the visit to the farm? George and his friendliness, the stables, the old man? The mystery of Michael, her curiosity - questions and even her falling in love with the idea of Michael? The book of poems? Alan and his angry reactions? Her continued searching, going to San Francisco, the encounter with Sylvia? At the plant, the office and its impersonal style? Going to the ranch, the chance encounter with Michael and not knowing who it was? Feeling at home, the water, the undercurrent? Alan's arrival and his anger? The phone calls, the suspicions? The variations on the truth - especially about the music and the mother's death? Her being suspicious, Alan reacting and angry? Her realisation of what was happening, the visit to Sylvia and the truth? The confrontation of Alan? Realising that he wanted perfection, transforming her (overhearing the women criticising her)? The return home, the suspicions, horse riding with Alan, his attempts to kill her, her escape and his death? Her sending for Michael, the bond between them? The support of her father? Her future?

5. Alan and Robert Taylor's presence and charm? Reputation, skills, visit to her father? The attraction - and her noting that it reminded him of someone? The marriage, going to Washington, his support of her, the dowdy clothes, the party? Transforming her? The visit to the farm, his moods? Filmed in shadow? The memories of Michael and his condemnation, his story? The visit to San Francisco, the plant? His anger at finding her at the ranch? His getting Anne to accompany him? The lies, the confrontation at home, his accusing her of being in love with Michael? His anger, the meeting with Michael, the revelation of the truth, the murder, the credit? The money? The ride and his wanting to kill Anne? His being trampled to death?

6. Michael, absent from the film for so long, the reputation - sensitive, music and poetry? The favourite of his mother? The contrast with his story about his stealing, the war? The meeting at the ranch and his treatment of Anne? The return, the confrontation with Michael in the stable? The truth? His coming at the end - and a future with Anne? Giving the money to the family of the murdered scientist?

7. Sylvia, the relationship with Alan? Anne's suspicions? Visiting her, the truth? About Alan, Michael?

8. Anne's father, the professor, his experiments? Devotion to his daughter? Supporting Alan? Coming at the end for his daughter? Lucy - and Marjorie Main's gruff style, giving advice, criticising Anne?

9. Joe, his devotion to Anne, impressions of Alan?

10. The ranch, the neighbour and her friendliness? George and his helping Anne, trying to cover about Michael?

11. The plant, the workers, the manager, his wariness, his giving Anne the information and the tour of the plant? The workers - and the murdered scientist?

12. Alan and his place in Washington society, the guests at the party - and their snobbery and criticism?

13. The popular ingredients of a psychological thriller, romance?