Lady in the Lake, adapted from Laura Lippman’s acclaimed 2019 novel, is directed by Euphoria’s Alma Har’el.
If there’s a sweet spot situated between overwhelming ambition, theatrical execution and questionable excess, that’s where this period mystery is precariously balanced. Headlined by Natalie Portman, with a performance whose brittle mayhem eventually reveals self-awareness,pushes at every boundary it can find: storytelling, America’s racial history, dramatic realism, and directorial convention are just a few. It is, in short, a lot, but it allows you to be equally infuriated and intrigued.
“You came at the end of my story and turned it into your beginning,” says Cleo in voiceover, and without knowing each other, the two women become intertwined. The show’s seven episodes are genuine in exploring both their lives, although Maddie’s has more momentum once she becomes central to the horrific murder of a young girl and ingratiates herself with the accused killer. Cleo sees the walls closing in; Maddie wants to smash them.
Several members of both Backstreet Boys and ’N Sync appear here, talking about the man they once affectionately called “Big Poppa”, andis a de facto biographical primer on the struggles those groups faced to escape obscurity. But they didn’t learn of Pearlman’s crimes until after he fled the US in 2007 and was subsequently arrested in Bali. Celebrity aside, Pearlman’s fraud was extensive but hardly sophisticated, as is any hindsight here. The framing of this story is itself suspect.
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Natalie Portman gives her all as an unfulfilled 1960s homemaker in this thorny thrillerLady in the Lake, adapted from Laura Lippman’s acclaimed 2019 novel, is directed by Euphoria’s Alma Har’el.
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