Critical Reception
Variety magazine lauded the film and wrote, "Undercurrent is heavy drama with femme appeal...Hepburn sells her role with usual finesse and talent. Robert Mitchum, as the missing brother, has only three scenes but makes them count for importance."
Critic Bosley Crowther of the New York Times also liked the film and wrote, "However, that is Undercurrent-—and you must take it upon its own terms, which are those of theatrical dogmatism, if you hope to endure it at all. If you do, you may find it gratifying principally because Miss Hepburn gives a crisp and taut performance of a lady overcome by mounting fears and Mr. Taylor, back in films from his war service, accelerates a brooding meanness as her spouse. You may also find Robert Mitchum fairly appealing in a crumpled, modest way as the culturally oriented brother, even though he appears in only a couple of scenes. And you may like Edmund Gwenn and Jayne Meadows, among others, in minor roles."
More recently, critic Dennis Schwartz wrote, "Director Vincente Minnelli...known mostly through his upbeat MGM musicals changes direction with this tearjerker femme appealing romantic melodrama, that can also be viewed as a heavy going psychological film noir (at least, stylishly noir through the brilliantly dark photography of Karl Freund)...Though overlong and filled with too many misleading clues about which brother is the baddie, the acting is superb even though both Katharine Hepburn and Robert Mitchum are cast against type (a weak woman and a sensitive man). It successfully takes on the theme from Gaslight."
Read more about this topic: Undercurrent (1946 Film)
Famous quotes containing the words critical and/or reception:
“Somewhere it is written that parents who are critical of other people’s children and publicly admit they can do better are asking for it.”
—Erma Bombeck (20th century)
“But in the reception of metaphysical formula, all depends, as regards their actual and ulterior result, on the pre-existent qualities of that soil of human nature into which they fall—the company they find already present there, on their admission into the house of thought.”
—Walter Pater (1839–1894)