As a woman who’s been there, I can relate to Cleo’s desperation and the feeling of being trapped by circumstances beyond my control. Her situation is heart-wrenching; she’s at the end of her rope, unable to see a way forward, yet determined to provide for her boys no matter what. Her dignity may be compromised, but it’s a small price to pay compared to the alternative.
In the second episode of “Lady in the Lake,” which is set in 1947, young Maddie, an ambitious journalist at her high school, plans to interview Louise Durst (Rebecca Spence), her boyfriend’s mother. Maddie notes that Louise’s paintings are reminiscent of surrealism, but Louise disagrees. When Maddie attempts to explain her definition of surrealism (“I believe it involves discovering the extraordinary”), Louise responds with a profound statement: “Isn’t it less wondrous to try and understand who you truly are?”
Instead of Mrs. Durst being displeased with Allan’s relationship with Maddie, it’s obvious that she doesn’t support it. Yet, Maddie is captivated by Allan’s enigmatic paintings, filled with shadowy figures and vibrant colors. The way these abstract pieces are defined as surrealistic by the young girl reflects Alma Har’el’s unique approach in bringing Laura Lippman’s novel to life on screen. As for Maddie, how will she find her identity beyond this surreal marriage? How will she seize control of her own life?
As a seasoned reader and analyst of psychological thrillers, I have come across many intricately crafted scenes that leave lasting impressions. The passage you provided is one such example. The use of flashbacks in this narrative not only advances the plot but also provides us with vivid images that linger in our minds.
I found myself longing to share the stories of everyone around me, but you seemed so focused on keeping your own tale untold, Maddie. Your voice-over gently scolds you in the film, urging us to delve deeper into those intricacies that shaped your new life with Milton (Brett Gelman), the man you had recently left behind.
I can’t help but feel that Tessie’s passing has left deeper scars on Tessie than she’s willing to disclose. After the gruesome discovery of her body, Maddie and Judith were taken in for questioning at the station. Unfortunately, their interrogation was marred by insensitive remarks from some officers, assuming Maddie to be Jewish due to her refined features. It wasn’t until this encounter that Ferdie Platt laid eyes on Maddie for the first time; a chance meeting that would soon enough unfold in unexpected ways.
Simultaneously, the local Baltimore politics influencing Cleo’s life become clearer: Cleo discovers that her questionable boss, Shell Gordon, previously funded Myrtle Summer’s political campaign. However, Summer, who aims to modernize the city and condemns Gordon’s illegal gambling activities, has drawn his ire. In this predicament, Cleo finds herself caught between her beliefs in Summer’s progressive ideas (which is why she volunteers for her cause, aspiring for a decent education for her sons) and her financial dependence on Gordon.
In the spirit of Summer’s conviction that “Our dignity should not be taken from us, only surrendered,” the woman bravely approaches the politician with a request for employment. Yet, she understands that Summer can no longer be linked to Gordon during her campaign. Surely, Cleo comprehends this logic. But isn’t she still planning to document her unwavering support for Summer at yesterday’s gathering? The audacious plea leaves Cleo devastated, as she publicly refuses to collaborate: “I can cling to my dignity,” she declares tearfully, “or I can care for my sons.” (Ingram delivers a powerful performance in this scene, evoking the weight of a lifetime of burdens she cannot abandon; she’s a woman at her wit’s end, unable to envision a way out). She’s tired of being manipulated by Summer. She will no longer be used as a pawn. In anguished tears, she departs, forgoing her dignity in favor of caring for her children. (It seems that providing for her sons, especially the ailing one, is her only option left.) Instead, she finds herself at Gordon’s office, seeking additional employment opportunities – and encountering demands for more concessions in return.
Maddie, just like Cleo, is faced with difficult decisions due to her current situation. Following Tessie’s funeral and the comforting hug from Allan’s wife, Maddie feels lost. Milton fails to comprehend her actions, and their teenage son Seth is resentful. Even her own mother criticizes her for leaving her husband. Determined as she is, Maddie encounters numerous obstacles: Milton refuses to give her money, and she can’t sell her car without his signature. In a frenzied sequence accompanied by Barbra Streisand’s “Gotta Move,” we witness Maddie at her breaking point, leading us to comprehend why she takes the drastic steps that follow.
In her new downtown apartment, Maddie orchestrates a burglary. She rummages through her belongings, smashes some items, and conceals her precious diamond ring in a potted plant. Afterward, she heads to the nearby diner and uses their phone to summon the authorities. This deception brings Ferdie to her doorstep, who harbors suspicions about her story. However, he plays along and informs her of their past involvement in the Tessie Durst case, which leaves Maddie shocked. Furthermore, he drops a hint that may save her from further trouble: If she files an insurance claim for the ring, it will take several months to receive the payout (which could be crucial for her plans). Although slightly irritated, Maddie keeps her composure and doesn’t reveal her true intentions.
When Bob Bauer (played by Pruitt Taylor Vince), a persistent local columnist, knocked on her door seeking details about Maddie and the Tessie case, she politely complied yet found it necessary to give him a helpful hint from her pet shop experience as an excuse for him to leave promptly.
At the pet shop, an unusual encounter between Stephan Zawadzkie (Dylan Arnold) and his abusive mother ensues, revealing his unstable mental state. Previously, they had discussed sea horses during Thanksgiving dinner. Now, Stephan has restrained his mother with ropes and dons a gas mask, having been discovered bathing with fish wearing the same mask earlier by her, resulting in a violent reaction. Surrounded by numerous law enforcement officers who prepare to use lethal force if necessary, Stephan dances erratically within the pet shop.
Regarding shootings, that concludes the episode. Cleo guarantees Gordon her loyalty by persuading her husband Slappy to perform at the Pharaoh club, providing them with their only income source. Though Slappy’s act falls short of being clean, it reassures Gordon. This leads Reggie, Gordon’s right-hand man, to entrust Cleo with handling a cash drop. With Reggie under investigation for the Tessie murder and having a black eye, he decides to lay low and uses Cleo, wearing her signature blue coat, for this task. Unbeknownst to Cleo, she is transporting money for a hit on Myrtle Summer. The hitmen even demand she drives them, as they suspect Reggie and no longer trust her. However, the shooting does not go according to plan. Shots are fired both inside and outside the house, with Myrtle’s fate uncertain. Will Gordon’s involvement be exposed? Does Cleo survive?
Maddie’s days are filled with chaos. She spends her nights partying with Judith, but has to send her away when Ferdie comes home. This is both a courtesy to keep him informed about the store, and an unwanted distraction in the form of Mrs. Schwartz’s seductive advances: “Is it against the law if I offer you a beer, officer?” she asks Portman with a charming smile. Meanwhile, Cleo is literally fleeing for her life, while Maddie metaphorically drives away from hers.
Clues & Things
“My mother has an extraordinary sense of smell that extends beyond the physical world, allowing her to detect even my deepest thoughts. This intriguing detail sheds light on Allan’s unique bond with his artist mom and hints at the potential impact of Maddie.”
In the 1960s mourning attire worn by Portman, there’s an uncanny resemblance to Jackie Kennedy – a memorable performance of hers that I greatly admire. Interestingly enough, Lippman’s novel includes this line spoken by Cleo: “You wore a simple pillbox hat with no veil. People must have thought you looked like Jackie Kennedy.”
As a passionate film enthusiast, I can’t help but feel a strong suspicion that Dream Book and the numbers game will continue to make appearances in the story. After all, Cleo’s son seems unlikely to abandon his lucrative side business, doesn’t he?
The surrealist mannequin sequence during Cleo’s interview at Myrtle Summer’s office was quite enchanting. It effortlessly conveyed how Cleo perceives others perceiving her.
In simpler terms, Maddie’s monotonous housewife life is compared to a beautiful yet lifeless scene, much like the surrealist works of Anais Nin. Anais Nin once shared with Judith her perspective on life, expressing her disinterest in ordinary moments and her pursuit of the extraordinary. She described herself as a writer striving to highlight the remarkable aspects of existence, while acknowledging that she doesn’t always reside in an inspired state. When she’s not in a creative flow, she focuses on mundane tasks such as repairing socks or pruning trees.
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2024-07-22 19:39