Lady in the Lake Casts Natalie Portman in a Strikingly Subversive ’60s Noir

As a seasoned critic with a deep appreciation for intricately crafted narratives and a keen eye for subtle character development, I found myself utterly captivated by the complex web of events unfolding in “Lady in the Lake.” The premiere episode, in particular, left me both puzzled and intrigued.

In her soft voiceover, Cleo Johnson reflects on discovering hidden secrets and forgotten past in the attic of her life. She admits that she had been a dangerous person to those around her, unaware of the true extent of her own identity. This poignant observation sets the tone for the intricate psychological mystery unfolding in “Lady in the Lake,” Apple TV+’s 1960s crime drama adaptation of Laura Lippman’s novel. Narration, often a convenient crutch for book-to-screen adaptations, is used sparingly here to add depth and complexity to the story instead of serving as a mere exposition device. Cleo’s insightful words capture the essence of the dual identity struggles at the heart of this captivating murder investigation. And ironically, her first revelation is about her own untimely demise.

In “Lady in the Lake,” a captivating seven-part miniseries set to debut on July 19, I find myself drawn into a gripping neo-noir mystery. However, what makes this production truly intriguing is its daring exploration of genre deconstruction. The classic archetypes – femmes fatales, victims, and heroes – are intertwined in surprising ways. Both lead characters, Moses Ingram as Cleo and Natalie Portman as Maddie Schwartz, embody these complex roles, yet they remain unaware of their true identities. While at times the narrative leans towards the dreamy and elusive, creator, writer, and director Alma Har’el skillfully navigates this intricate territory. She manages to deliver richly nuanced characters without compromising the thrilling plot twists and suspense that are essential components of this genre.

In her debut television role, Portman, the executive producer, exudes great intensity (despite some noticeable inconsistencies in her accent), playing a frustrated housewife in 1960s Baltimore who becomes fixated on the disappearance of a girl, Tessie Durst, from her community. Living with her timid husband, Milton, and rebellious teenage son, Seth, in the Jewish neighborhood of Pikesville, Maddie’s unexpected obsession with finding Tession, whose father is their neighbor Allan with whom she has a past, confuses her family. Having been the standout student on her high school newspaper, Maddie leaves Pikesville behind and settles in a run-down inner-city apartment to pursue the investigation herself. The reasons for her actions – Tessie’s vanishing, her journalistic ambitions, or her complex history with Allan – remain unclear not only to us but also to Maddie herself.

Cleo is on the brink of being ensnared in Mrs. Schwartz’s quest for self-discovery, as she muses in a soliloquy directed at Maddie, “The fact is, you arrived when my tale was nearing its close and transformed it into your genesis.” However, Har’el and Ingram’s nuanced portrayal of the character underscores that Cleo, a Black woman with her own background and responsibilities, is not merely a prop for Maddie’s personal development.

Although there are noticeable distinctions between Cleo and Maddie, they share numerous commonalities. Har’el skillfully portrays these likenesses without resorting to the typical crime drama tactics of emphasizing every detail. On Thanksgiving Day, both women reach a tipping point and depart from their respective husbands, with Cleo bringing her sons along. Both seek to break free from societal expectations that pigeonhole working-class Black women and affluent Jewish housewives into the same mold. They encounter some of the same individuals. And in an authentic moment of chance, their paths intersect when Maddie enters a store to buy a dress she sees Cleo modeling in the window.

In this intricate situation, we witness a woman’s arrogance as she insists on buying an expensive-looking dress from a model, while racist shop assistants caution her about the garment having been previously worn by a Black woman. A manager forcibly removes Cleo to make way for Maddie to try it on, disregarding Cleo’s comfort. However, there exists an unusual closeness between the two women as they share the same attire and skin against the fabric, despite remaining silent with one another. As a result, Cleo, serving as the narrator, has a deeper comprehension of Maddie than Maddie herself does of the reporter.

Har’el skillfully infuses ordinary instances with profound layers of significance. In “Lady in the Lake,” the common theme of trauma is addressed, yet the characters, both major and minor, are portrayed as individuals whose personalities transcend their backgrounds and situations. The narrative explores the complexities of Maddie’s ambition and Cleo’s self-righteousness, questioning whether their harshest actions are justified. The film subtly acknowledges issues such as racism, sexism, antisemitism, class disparities, and their interconnections, without disrupting the historical context to deliver a moral lecture. Above all, it empowers the characters in the audience’s perception, allowing them to break free from the restrictive roles they are trying so hard to leave behind.

The show’s unique visual approach enhances its exploration of the human psyche. Har’el carefully captures unsettling moments of ordinary life, making them seem otherworldly. For instance, as Maddie buys a lamb from the butcher, blood splatters on her coat, giving the impression of a violent injury. We experience the parade through the lens of a drunk man in a mailbox costume, who pauses to relieve himself in an alley. The lines between reality, memories, dreams, and the surreal music performances at the club where Dora (Jennifer Mogbock) sings become hazy. It becomes challenging to distinguish what is genuine and what is merely a figment of a character’s imagination.

In most cases, the vague elements add to the intrigue; the “Lady in the Lake” storyline flourishes in the borderland between reality and imagination. However, as the narrative progresses, the unsettling aspects risk overshadowing the core enigma. Har’el begins to uncover hidden links among characters’ unconscious thoughts, which might not align with actual events. An extended dream sequence in a late episode raises questions about its connection to Maddie’s investigation, appearing somewhat contrived. Instead of addressing plot inconsistencies directly, they are disguised with vague explanations. While this doesn’t diminish the final twist’s impact, it does cloud certain details.

In the end, your enjoyment of the series hinges on whether you seek solace in traditional murder mysteries or prefer having their neat solutions disrupted. Lady in the Lake certainly isn’t comforting. However, I’d choose the intriguing depths it uncovers from its characters’ thoughts over predictability every time.

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2024-07-19 05:06