It's fitting that the first time Maddie Schwartz and Cleo Johnson, the two women at the center of the stylish new murder mystery "Lady in the Lake," lay eyes on each other, it's through a department-store display window—that engine of female desire. Maddie (Natalie Portman), a Baltimore housewife, quickly makes up her mind to buy the yellow dress modelled by Cleo (Moses Ingram), one of the store's living mannequins. Cleo's attention is caught by the rivulet of blood on Maddie's mustard-colored skirt suit. The year is 1966, and both will soon be on their way to political gatherings—Maddie to a fund-raiser for a Jewish civil-liberties group, Cleo to a rally for Marylands first Black woman state senator—though nothing as nebulous as social change can fulfill either woman's long-stifled aspirations. In a matter of days, Maddie will leave her husband (Brett Gelman) and her teen-age son, Seth (Noah Jupe), to pursue a career in journalism, and Cleo will dip her toe into a criminal underworld that quickly pulls her underwater. Afterward, in a voice-over, she expresses her resentment at having been made a supporting character in Maddie's second act: "Your writing dreams ruined your life. Now you want those same dreams to rewrite it. But why did you need to drag my dead body into it?"
この記事は The New Yorker の August 12, 2024 版に掲載されています。
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この記事は The New Yorker の August 12, 2024 版に掲載されています。
7 日間の Magzter GOLD 無料トライアルを開始して、何千もの厳選されたプレミアム ストーリー、9,000 以上の雑誌や新聞にアクセスしてください。
すでに購読者です? サインイン
GET IT TOGETHER
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