As a dedicated fan of crime dramas, I’ve seen my fair share of gripping stories that delve into the depths of human nature and the complexities of relationships. But none have managed to capture my attention quite like “Lady in the Lake.” This first episode was a masterclass in visual storytelling, with each scene meticulously crafted to elicit an emotional response from the viewer.
“The hunter will always be hailed as a hero by the lion until the lion shares its side of the story. Cleo Johnson (Moses Ingram) expresses this in the opening voice-over of ‘Lady in the Lake’s first episode: “I was Alive as Cleo Johnson.” However, in death, I became the lady in the lake.” The scene that follows, depicting a man carrying a corpse across a lake and a woman perusing news articles about the “lake woman,” sets an intriguing tone for Alma Har’el’s television adaptation of Laura Lippman’s novel.
The voice-over suggests we’re to get the lion telling her own story, perhaps a chance to redress the notion that the hunter was ever its hero. But who is being preyed upon and why, we soon learn, are endlessly more fascinating questions at the heart of Apple TV+’s latest prestige literary adaptation set in late 1960s Baltimore. After all, as Ingram’s voice over strings us through what made Cleo the titular lady in the lake, there’s a thrilling sense that only in death can she tell her story. We may begin with a well-worn television trope (the body of a dead young woman), but here she is wresting control of her own story lest it become fodder for someone else’s. Though by the end of the episode, we know this is exactly what will happen, at the moment when we learn this is a story not just about a dead Black woman but also about a dead Jewish girl — and that of the Jewish woman who finds herself embroiled in both.
In the year 1966, a month prior to a man disposing of a body in a lake, we are taken to a Thanksgiving parade in Baltimore instead. Wallace White (Charled Hofheimer), the local news anchor, presides over the event, providing commentary on the joyful spectators’ viewing experience: the amusing mailboxes that dance playfully, the jubilant Orioles baseball team, and even the appearance of Santa Claus himself. However, one family remains disinterested in this festive parade. Tessie Durst (Bianca Belle), a young girl with a sea horse book in hand, gazes wide-eyed at the various floats. Yet, her parents are not fully enamored and are Jewish, so they don’t indulge the notion that Santa is anything more than an acquaintance dressing up. Before the parents can continue their lecture as they move through the crowd, Tessie slips away to a nearby pet store. There, she encounters a Black man with a black eye, who is interested in purchasing a unique fish, and a nervous pet store employee, eager to share facts about seahorses with Tessie. Their interactions are not entirely comfortable.
Tessie’s absence significantly impacts Maddie Schwartz (Natalie Portman). While preparing for an appearance at an event honoring the Jewish Welfare Fund (JWF) and the American Jewish Committee (AJC), Maddie, clad in a pillbox hat and a ’60s yellow dress, keeps thinking about Tessie. Her thoughts disrupt her errands: she accidentally stains her dress while buying kosher meat, then rushes to buy another yellow outfit that fits with her hat and shoes. As Maddie shops, she notices Cleo, a young Black woman modeling a yellow dress in a store window. Their eyes meet in a brief but meaningful moment, which later becomes crucial in the series, particularly as it’s sandwiched between various microaggressions both women face from the intrusive store employees.
Instead of Cleo being the one preoccupying Maddie’s thoughts, it is Tessie who continuously consumes her mind. As the city launches search parties for Tessie, the image of the young girl becomes increasingly ingrained in Maddie’s consciousness. Her fixation takes a toll on those around her: Milton and Seth are left to witness Maddie’s emotional collapse during their dinner gathering, culminating in a heated argument and shattered dishes. The strain of recounting the events surrounding Tessie’s prom – where Wallace took Maddie after Allan stood her up – pushes Maddie to her limits. Unable to cope any longer, she impulsively decides to abandon Milton and Seth.
She deeply concerns herself with the welfare of the young girl. Her longing for something greater in life is unmistakable. However, there’s much more than that swirling in her thoughts. Similarly, Cleo isn’t satisfied with her current situation. You can sense it in every weary, honeyed line she delivers. She spends her days working at a store and nights at Shell Gordon’s (Wood Harris) nightclub. This Baltimore figure is determined to bring down a state senator who advocated for school integration, yet his true motivations seem selfish. Gordon has been running illicit activities from his club, and Cleo has helped him manage the books. He isn’t keen on anyone disrupting his illegal dealings. So, while Freddie Platt (Y’lan Noel) can visit his establishment and flirt with Cleo, Gordon intends to maintain control as if he’s the sole authority. This is why he urges Cleo to stop volunteering for the senator and instead prioritize her employer’s wishes. She could begin by introducing Dora (Jennifer Mogbock), who slurs her words during a performance, evidently under the influence of drugs.
At home, Cleo’s life remains unchanged. Her partner Slappy (Byron Bowers) contributes little by not holding down a job and barely helping with the upbringing of their young sons. Consequently, much like Maddie, Cleo decides to abandon her apartment and reside with her mother instead.
Maddie shied away from the thought of crashing at her mother’s house. Instead, she turned to Sid Weinstein, the local jeweler, who had mentioned having a rental apartment on the first floor. With the hope of selling her ring, Maddie left carrying the apartment keys, venturing into an unfamiliar part of town. Fortunately, Judith Weinstein (Mikey Madison) was there to guide Maddie through the apartment. Eager to use Maddie as a means of escaping her own home, Judith acted as Maddie’s companion in their search for Tessie. Determined, Maddie and Judith formed a duo, with Maddie solely focused on finding Tessie, even if it meant discovering her frozen body. This discovery sent Maddie into a near catatonic state, but Judith managed to soothe her, marking a turning point in Maddie’s life.
“Cleo conveys to Maddie in the final narrative of the episode that only you have the power to dictate how to live your life. You’d hoped Tessie’s passing would grant you this autonomy, but instead it merely indicated the way. Your true liberation required Cleo’s encouragement to emerge.” This freedom may incur a fee, but from whom and for what purpose remains unclear.
Clues & Things
In place of the original: Despite reaching our limit for popular, slow-paced songs that add impact to crucial dramatic scenes, wasn’t the heartfelt performance of “Where’d Our Love Go?” by Dora (Jennifer Mogbock) at the episode’s end absolutely captivating, paving the way for the shocking revelation of Tessie’s death?
Title cards at the beginning of the episode paid tribute to Jean-Marc Vallée, who passed away and was an executive producer on the show. His expertise in sensory and memory-driven editing significantly influenced how Har’el and co-editor Yael Hersonski crafted the pacing of “Lady in the Lake.”
Doesn’t it seem like an unexpected and significant event, almost like a “Black Swan,” happened when Milton destroyed a good brisket in the trash?
What role do you believe the club scenes with Reggie (Josiah Cross) play, considering he’s disposing of fish that he had previously looked at intently at the pet store? (A red herring is a false or misleading clue intentionally added to a story to distract from the true plot.)
• The show is visually stunning, particularly the last aerial shot from Tessie’s position that unveils the Baltimore skyline. Nevertheless, my preferred shot is the one featuring two versions of Maddie – one young and weeping, the other older and worn out – in a car, with the past and present intertwining as Maddie strives to leave behind her old life.
I’ve enjoyed observing Har’el bring Laura Lippman’s novel characters to life in this initial episode. The adaptation maintains the essence of the book while introducing new elements, such as the significant dress swap scene that marks Maddie and Cleo’s first encounter. These modifications enhance what was previously a brief interaction on paper. This thoughtful adaptation doesn’t keep Maddie as the sole focus with Cleo serving merely as a side note; instead, it equally explores their intertwined stories.
As a longtime film enthusiast with a soft spot for rising stars, I must admit, I’ve been thoroughly impressed by David Corenswet’s recent appearances on the silver screen. It seems like this young man is unstoppable, popping up everywhere this year!
I absolutely adore Anora’s star Mikey Madison! Her Baltimore accent adds such a unique and charming touch to her performances. Growing up in that vibrant city must have given her a rich and colorful perspective on life. Her “pillaw” way of speaking is not just an accent, but a reflection of the culture and community she comes from. It’s truly captivating to watch her bring her characters to life with such authenticity and charisma. I can only imagine the countless stories and experiences that have shaped Madison into the talented actress she is today. Her Baltimore roots add a layer of depth and nuance to her craft, making her performances all the more compelling. I’m excited to see what she does next!
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2024-07-22 19:42