This fearless, 60s-set thriller is astonishingly written and acted. It’s so sumptuous that its brilliance threatens to overwhelm you
remember reading Margaret Atwood’s Alias Grace many years ago and feeling almost as if I was being beaten about the head with its brilliance. I loved it, admired it, wanted to tell all my friends about it, but I had to take a few days to recover from a sort of cudgelling-by-quality first.
This is the story of two Baltimore women in the 1960s: affluent white Jewish housewife and mother Maddie Schwartz and Black, all-but-single mother Cleo who is working three jobs to try to lift herself and her children out of the life of struggle that otherwise beckons, and away from the temptations and dangers offered by the underbelly of the city.
Lady in the Lake spends the first two episodes largely world- and character-building. It’s meticulous and valuable, but it is also a slight relief when the action starts up in the third episode and the story proper begins – not least because Portman begins to shine and to hold her own against the extraordinary Ingram. Maddie inveigles her way into the killer’s life and that of his mother and uses the relationship and the information gained to establish her reporter bona fides.
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