Adapting ‘Lady in the Lake’ for TV meant centering the women at the core of the story

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As a seasoned book critic with years of experience under my belt, I’ve read my fair share of novels that leave me feeling flat and unfulfilled. But when I picked up “Lady in the Lake,” I was immediately captivated by the intricate storytelling and rich character development.

In 1969, Baltimore saw the vanished lives of an 11-year-old Jewish girl and a 33-year-old Black woman, leaving behind deep impacts. These tragic events ignited the creative flame in Laura Lippman, leading her to pen her captivating 2019 novel “Lady in the Lake.” In this story, Maddie Schwartz, a determined Jewish journalist trying to make her mark, and Cleo Sherwood, a resilient Black waitress entangled with criminal elements, each share their narratives.

As a long-time fan of crime novels, I’m thrilled to see “Lady in the Lake,” a story that delves into the complexities of women’s struggles against societal expectations and personal demons, being brought to life in a seven-episode limited series on Apple TV+. Having grown up with stories of strong female protagonists, I can only imagine the excitement Alma Har’el must have felt when she was given the opportunity to adapt this intriguing narrative.

The novelist

Lippman is a Baltimore-born journalist who previously worked for The Baltimore Sun. As a kid, she became intrigued by the story of Esther Lebowitz, an 11-year-old girl who vanished in 1969 and was eventually discovered deceased. However, it wasn’t until Lippman joined The Baltimore Sun that she came across the account of Shirley Parker, a Black woman whose body was found in a lake fountain in similar circumstances around the same time. Unfortunately, her tragic story received minimal attention from the city’s predominantly white media outlets.

In an interview from her Baltimore home, she shared, “Growing up, I used to read the newspaper every day. But it wasn’t until I started working there and went on the rewrite team’s tour of Baltimore that I learned about the Lady in the Lake case. I was intrigued by the mystery surrounding a young girl’s death, whose cause remains unknown, and a Black woman’s death for which no homicide ruling was ever made. To this day, no determination has been reached regarding these tragic deaths.”

Lippman found the difference between the two cases intriguing. Yet, she had no intention of penning a novel based solely on these incidents. When it comes to writing fiction for her, she prefers not to delve too deeply into factual investigations.

Lippman explained, “I avoid contacting the actual families connected to these cases out of compassion, as I don’t wish to cause further distress. This is a constant consideration for me. Some crime podcasts have dealt with this issue in ways that left me uncomfortable.”

An alternate expression for the given text could be: Instead, she chose to craft a novel centering around a particular topic: “I opted to delve deeply into a complex issue by penning a tale about a Caucasian character capitalizing on African suffering for personal benefit.”

Moses Ingram, left, stars as Cleo Johnson and Byron Bowers as her husband, Slappy Johnson, in “Lady in the Lake.”
(Apple)

In the show, Maddie, portrayed by Portman in her debut recurring TV role, and Cleo, played by Ingram (“The Queen’s Gambit”), appear. The mysterious disappearance of a young girl sparks a profound crisis for Maddie. She ends her marriage, relocates to a predominantly Black community, and rekindles her love for journalism. As the investigation progresses, Maddie becomes increasingly fixated on the missing girl and eventually Cleo, who seems to scold Maddie from beyond the grave for overlooking the larger context.

In the TV series “Lady in the Lake,” Maddie’s character comes across as slightly more sympathetic than in the original novel. The complex web of narrative voices found in the book has been simplified, resulting in a more conversation-like interaction between Maddie and Cleo on screen.

As a movie critic, I’ve had the pleasure of praising Lippman for her “terrific” work on the series. Personally, I have no qualms with the creative adjustments made during production. Being married to the brilliant mind behind Baltimore’s most iconic TV show, “The Wire,” created by David Simon, has given Lippman a unique perspective on the television industry. However, she prefers to focus her writing talents on the page rather than the screen.

As a movie enthusiast, I no longer view that tale as mine once I sold it. From that point on, I approached the adaptation process with the perspective of a novelist.

The creator

As a huge fan of Har’el’s work, I can tell you that her connection to Maddie’s Jewish identity in the project really resonated with me. Born and raised in Israel myself, I was surprised and intrigued when Har’el, now a longtime Angeleno, shared how this aspect of the story deeply affected her during its early stages. Producers Nathan Ross and the late Jean-Marc Vallée brought the project to her, and the exploration of Maddie’s Jewish identity struck a chord with Har’el on a personal level.

In a video interview from her home in Los Angeles, she expressed that delving into the concept of Jewish identity opens up avenues for examining persecution, racism, and experiences of both being oppressed and oppressing others. Additionally, it allows us to consider the path of assimilation or the chance to integrate into other cultures.

Alma Har’el, creator, writer and director of Apple TV+’s “Lady in the Lake.”
(Rob Berry)

Maddie is surrounded by various thoughts as she navigates her identity amidst her traditional Jewish family background, which includes keeping kosher dietary laws and celebrating high holidays. However, she resists conforming to the societal norms that expect her to become a wife and mother within this cultural framework.

As a dedicated cinema enthusiast, I was drawn to the intriguing portrayal of Black characters in “Lady in the Lake.” Their unique depictions of freedom left me captivated. My romantic partner, Byron Bowers, a comedian, ignited my creative spark to bring Cleo’s husband to life – Slappy “Dark” Johnson. In the series, Byron brilliantly embodies this complex character, reminiscent of the groundbreaking comic genius, Richard Pryor. Slappy pushes boundaries in the mid-60s with his provocative humor, addressing topics that resonated deeply within the African American community during that era. As a consulting producer on the series and collaborating with Black writers, Byron ensured an authentic representation of our experiences on screen.

In an individual interview, I shared my perspective: The characters in the show are all battling their internal conflicts while seeking liberation beyond societal expectations, a personal goal I strive for in my everyday life. This unfamiliar world of Black experiences portrayed in the series was new to me, having grown up amidst the crack epidemic. Yet, it’s a time when families remained strong and there was optimism among Black communities before the heroin crisis and the Vietnam War.

Tyrik Johnson, left, and Byron Bowers in “Lady in the Lake.”
(Apple)

In Har’el’s novel, unlike Lippman’s where multiple narrators vary in reliability, the focus is on Cleo and Maddie, two determined women seeking freedom from their oppressive societal norms. Maddie faces obstacles in selling her car without her soon-to-be-ex-husband’s approval, while Cleo lives under the control of her boss, Wood Harris, who wields power over Baltimore’s numbers racket using a blend of Black Power ideologies and brutal force.

Har’el, the primary writer and director of all seven episodes, perceives the show’s characters embodying the same conflicting forces driving the narrative.

As a movie buff, I’d put it this way: “The depths of Jungian psychology are subtly woven into the show, inviting us to look past the political facade and delve into the human story. It’s an opportunity for us, as viewers, to connect with the characters on a deeper level.”

But without her stars, she says, the ideas mean little.

She gives credit to the actors for their performance. It’s captivating to witness how they authentically reach deep emotional depths.

Natalie Portman, left, on set with Alma Har’el.
(Apple)

The stars

From the outset, Portman played dual roles in the production as both the lead actor and executive producer. Initially, Lupita N’yongo was considered for the role of Cleo, but her casting remained uncertain until filming began. According to Har’el, “There was no consensus.” However, when Moses entered the scene, it was evident to all involved that he was the right choice for the part.

Ingram and Portman seldom share screen time yet are connected since their initial encounter in episode one. During the opening sequence, blood from Maddie’s recently bought lamb for her family meal splatters on her dress. Simultaneously, she glances at Cleo’s outfit displayed in a department store window. This scene carries a significant meaning for Portman.

In the opening scene where Portman’s character gazes at Ingram’s (Cleo) in the dress, Portman explained during an interview with Ingram, it’s primarily the dress that holds her interest. Symbolically, this represents how she handles Cleo – using her as a means to fulfill her own desires and aspirations.

The moment Maddie (Natalie Portman) and Cleo (Moses Ingram) first meet in “Lady in the Lake.”
(Apple TV+)

Despite the apparent discrepancies between the different parts of the series, it goes to great lengths to link them together thematically and visually during post-production. This is accomplished through the skillful use of crosscutting, which interconnects various stages of their lives.

Ingram expressed his belief that due to their shared experiences as women and mothers, responsible for caring for their husbands and children while pursuing their own desires, these individuals inhabit a remarkably similar world.

As a devoted fan of the series, I’ve observed that Maddie’s character is slightly more compassionate and less focused than her novel counterpart when it comes to utilizing Cleo’s story for journalistic success. However, she remains deeply complex with her own set of imperfections and an inclination to overlook the intricacies of the lives she reports on. Lippman once humorously commented, “If you want to be a human-interest writer, it helps to have some interest in humans.”

For Portman, the fact that Maddie is no angel made the role more interesting, and more human.

“She points out the irony that those who experience oppression can unintentionally become oppressors themselves. This is an important reminder, as the commonly told narrative often suggests that if someone has been wronged, they won’t inflict harm on others. However, regrettably, this isn’t always the case.”

According to Lippman, a more compassionate and tranquil version of Maddie emerges in her new work, representing alternative paths in a distinct form. She expresses great satisfaction with this outcome.

“Natalie Portman’s portrayal of Maddie is more intricate and multi-dimensional than my own interpretation. I’m drawn to that complexity. It’s a challenge to ask readers to connect with an unlikable character in literature, but inviting audiences to follow her journey in a limited series, particularly a female lead, adds a new layer of engagement for me. I admire the careful consideration put into this adaptation.”

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2024-07-18 19:05