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Lady in the Lake Recap: Gotta Move, Gotta Get Out
Cleo and Maddie’s lives descend into utter chaos.
But the young girl’s awe at those wild, colorful, and inexplicable paintings (shadowed faceless figures suggested by mere brushstrokes, greens, and yellows punctuated by darkened blotted silhouettes), as well as her definition of surrealism, speak to how writer-director Alma Har’el is crafting this adaptation of Laura Lippman’s novel. But he humors her and shares how she and Judith had been persons of interest in the Tessie Durst case (“some lesbian crime sex or something,” he tells her), which appalls her, but thankfully, given that they found aquarium gravel in her fingernails, they have someone else in mind already. He’s learned from police that Zawadzkie’s mother is trying to pin the Tessie murder on a colored man with a black eye who was in the store that day (that’d be Reggie) so he decides to lay low and give Cleo, donning her signature blue coat, a job she only takes because she’s trying to stay in Gordon’s good graces.
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