Katharine Hepburn hesitates between two kinds of love, society-friendly or romantic, symbolized by Robert Taylor and Robert Mitchum. Vincente Minnelli's first melodrama already foretells the masterpieces of the 50's. So let's forget some Du Maurier scenes that haven't aged so well and enjoy a lucid mise-en-scene illumined by Karl Freund's camera.
Rather pointless cobbling together elements of better films (Gaslight & Daphne du Maurier), Undercurrent is nevertheless never entirely uninteresting. Minnelli steers a too-long script, keeping things afloat & Hepburn is very good as the believably insecure wife to Taylor's dashing millionaire. Mitchum's few scenes are curiosities but worth it--he looks like a kid playing detective in his father's trench coat.