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Perdita opens it without permission, which leads the spirit of Viola to choke her to death. After finding his second wife dead, Arthur believes the trunk is cursed and throws it in the lake with the eldest sister's spirit trapped inside. In the original Henry James story, their roles are entirely reversed and it is likely Flanagan made this change in order to better suit the source characters' characteristics. Viola has haunted the grounds of Bly Manor for nearly years. It is unknown when Miles and Flora first encountered the spirit but the little girl is deeply aware of how dangerous she is and Flora uses a faceless doll in order to track where she is at all times. In her bedroom, she has an exact replica of the manor and the surrounding areas in her room represent the various locations on the property. Her dresser represents the lake. When the doll is under the dresser, it means that Viola is in the lake but when she is in the middle of the room, it means she is on her way to the house. When Dani is walking the halls at night, the doll is seen heading towards the forbidden wing of the house. It is Flora's way of ensuring that the people she cares about stay safe from the woman who trapped several spirits in Bly Manor. In episode 1, "The Great Good Place," Miles and Flora lock Dani in the closet after she picks the doll up from the middle of the floor. They do so in order to keep her safe from Viola's malevolent spirit. As "The Romance of Certain Old Clothes" continues to tell the story of Viola and Perdita, it shifts towards solely focusing on the aftermath of the trunk being tossed into the lake. After Bly Manor is left vacant, she roams the house in search of the family that left her. It appears to take several decades for her features to fade but once they do, they are gone forever. When Viola got sick, she was forced to be in a room alone and away from her child. She lived out her final years without anyone to comfort her and without the two people she loved by her side in the ways that she wanted them. The reason she roams the house is in search of her husband and daughter. Every time she enters Bly Manor, she discovers they have not returned and Viola then takes whoever she encounters back to the lake with her turning them into Bly Manor's ghosts. Well this is a new favorite Christmas film of mine. Robert Montgomery's Lady in the Lake is such an incredible feat in first-person cinema. The execution is so brilliant, so inspired, I'll cobble a pair of cement shoes for the plot to go wade into the lake. There were so many times my heart was beating out of my chest, all put on edge by that eerie, heavenly choral score. A stupendously inventive effort in the genre. And yes, Audrey Totter's reactions are golden. Every frame she's on is eye-popping in more ways than one. A noir told entirely in first person is a gimmick, of course, and there's both strengths and weaknesses. As it is, though, the moments it works it works so well that all of the weak stuff can easily be swept under the rug. The climax, the slow crawl to the pay phone, and even the kiss are all starkly memorable. Montgomery's direction moreso than his lame attempt at a brusque accent really keeps the movie moving, even if they have to wallpaper over the gaps with a few direct-to-the-camera sequences. All that being said, Audrey Totter's eyebrows are now one of my most favorite things in the entire universe. Inspired by the first-person narrative of Raymond Chandler's Marlowe novels, first-time director Robert Montgomery tackled the Lady in the Lake mystery by filming it almost entirely in the first-person perspective. It's a unique effect, which was later used, more effectively, in the first half of Dark Passage. Due to its experimentation, Lady in the Lake is something to be admired more than cherished. The limitations of the first-person perspective are glaring, like how it keeps the story contained to sets. We don't even get to go to the titular lake! Montgomery's Marlowe only talks about it in confusing exposition, and that's a huge change from the source novel. The setting change to…. While there is a mystery to be solved here, the dedication of director Robert Montgomery to first person POV takes over the film. The effect is not distant to a first person shooter video game and the acting, to the camera, is awkward and self aware to the point that it completely took me out of the film. While there are moments that work, this is a frustrating film. This has a nice Chandler plot and great Chandler dialogue. Add in the over-clever POV gimmick, with the resultant straight-in-the-camera over-acting, and you have loads of distinctive fun. Merry Christmas! Without the POV gimmick that it's best known for, I don't think anybody would have paid much interest in Lady in the Lake. Otherwise it's a pretty formulaic noir with no great surprises. Maybe that's the reason they decided to make it like this in the first place, knowing full well there really wasn't enough here to make it stand out from the tons of other crime mysteries being made at that time. It was a pretty good decision, actually. There's nothing actually wrong with the story here, it's just recognisable in every single way. That's not really a problem with me, I don't mind a film raking over the…. Review by Chloe. Maybe Robert Montgomery should get some credit for trying something new with the whole 'it's all from Philip Marlowe's POV' thing, but his performance - which, by necessity, is largely narration - is so heinous that I'm not inclined to give him any. What a disaster. I know Marlowe can be a terse character, and it's been a while since I've read any of the books, but I didn't remember anything about him despising everyone he meets the second that he meets them. He comes across as loathsome and cruel; there's no lightness or wit to him. That makes it very confusing when one of the women acts all gushy after he's spoken, and you realise that what you've just…. In my first ever film class, my prof talked about the subjective camera and used this film as an example. My recollection of that was him saying that this movie tried it and was the example for why POV films aren't made. So I was excited to watch it! Hey Drew hope retirement is treating you well. And yeah, I get his point. I'm not gonna say that this film really worked. The acting was often awkward, and I feel really bad for Audrey Totter for having to pretend to seduce a literal film camera lmaoo. The Magical Murder Mystery Tour. Lady in the Lake's first-person filmmaking gimmick is undoubtedly novel for the time period, but director and star Robert Montgomery's approach to this Philip Marlowe adaptation is pretty much the only interesting thing about it, as its central mystery doesn't really offer much in the way of surprises and the plot simply feels empty. Definitely some problems with this but I just really appreciate what they were going for. Haven't seen much like that from that time period and it was impressive. Some of the POV closeup shots were incredible. We only see Montgomery as Marlowe a few times, when he looks in mirrors. Anyways, I like this version of Marlowe that we see, or rather, hear, in this adaptation. The Lady In The…. I get what it was trying to do and they picked the right genre to do this with, however, the plot was incredibly stale and the characters were not captivating at all. Also, zero swords - Very disappointing. I read a few more Raymond Chandler novels recently and was curious to see the film adaptations, which aren't as well known as The Big Sleep etc but all sounded interesting in their own way. This first one is a particularly interesting production, because Robert Montgomery opted to shoot it all POV style, only appearing as Marlowe in reflections and a couple of short scenes where he speaks directly to camera. I found this pretty charming and inventive to begin with, less so as the film starts to run out of steam a little later on - not helped by a few changes to the source material that stretch credibility a little, and the presumably budgetary? Lady in the Lake – IFC Center

The revered New York Times bestselling author returns with a novel set in s Baltimore that combines modern psychological insights with elements of classic noir, about a middle-aged housewife turned aspiring reporter who pursues the murder of a forgotten young woman. In , Baltimore is a city of secrets that everyone seems to know--everyone, that is, except Madeline "Maddie" Schwartz. Last year, she was a happy, even pampered housewife. This year, she's bolted from her marriage of almost twenty years, determined to make good on her youthful ambitions to live a passionate, meaningful life. Maddie wants to matter, to leave her mark on a swiftly changing world. Drawing on her own secrets, she helps Baltimore police find a murdered girl--assistance that leads to a job at the city's afternoon newspaper, the Sta r. Working at the newspaper offers Maddie the opportunity to make her name, and she has found just the story to do it: Cleo Sherwood, a missing woman whose body was discovered in the fountain of a city park lake. If Cleo were white, every reporter in Baltimore would be clamoring to tell her story. Instead, her mysterious death receives only cursory mention in the daily newspapers, and no one cares when Maddie starts poking around in a young Black woman's life--except for Cleo's ghost, who is determined to keep her secrets and her dignity. Cleo scolds the ambitious Maddie: You're interested in my death, not my life. They're not the same thing. Maddie's investigation brings her into contact with people that used to be on the periphery of her life--a jewelry store clerk, a waitress, a rising star on the Baltimore Orioles, a patrol cop, a hardened female reporter, a lonely man in a movie theater. But for all her ambition and drive, Maddie often fails to see the people right in front of her. Her inability to look beyond her own needs will lead to tragedy and turmoil for all sorts of people--including Ferdie, the man who shares her bed, a police officer who is risking far more than Maddie can understand. See our price match guarantee. When Viola awoke in the afterlife, she discovered she was trapped along with her finery, locked in her sickbed until the day came that her daughter opened the chest. With nothing else to do for all those years, she slept, woke, walked. Meanwhile, ill-luck fell on Bly and their riches ran out, and after pleading with Arthur to open the chest Viola left behind, Perdita took it upon herself. Viola, expecting to see the face of her beloved daughter at last and seeing her treacherous sister instead, strangled Perdita to death. That last act of rage sealed her fate, and when Arthur and Isabelle left Bly for good, they dropped the chest, and Viola along with it, into the lake, believing it was cursed. In the mythology of the show, all fade over time, including spirits; their memories, personalities, and even their faces. She would emerge from the lake at night and walk through the house, looking for her daughter. She did this so long and so many times, eventually she forgot what she was looking for, filled with only a vague sense of loss and longing that kept her making her nightly rounds. Any soul that passed on the estate became stuck in that trap, including Mrs. Because to tell the full story of the Lady in the Lake, we have to move beyond Viola and back to the present or the s, as it is in the series. In fact, Dani had many good years, which she spent in a beautiful relationship with Jamie Amelia Eve , the stoic and straightforward Bly gardener. Dani would never. In fact, no one would ever be taken again and no one has been taken to this day. Jamie comforts the girl, telling her:. Enjoy that easy silence with him. That repression came back for literal vengeance in the form of the Lady in the Lake, a figure of toxic love who could not let go of her hurt, and hurt other people in turn. She loves enough to let go. Facebook Messenger Click the button below and wait for a message from our Facebook bot in Messenger! Reviews Movie Clips Interviews. Lady in the Lake by Laura Lippman, Paperback | Barnes & Noble®

Later, the Lady comes to Arthur's court to receive her end of the bargain; she asks for the head of Sir Balin, whom she blames for her brother's death. Arthur refuses this request, and Balin swiftly decapitates her instead with his own magic sword a cursed blade given to him by a mysterious lady from Avalon just a moment earlier in front of Arthur and then sends off his squire with her severed head, much to the distress and shame of the king. Arthur gives the Lady a rich burial, has her slayer banished, and allows Sir Launcenor of Ireland to go after him to avenge this disgrace. The second Lady of the Lake is sometimes referred to by her title and sometimes referred to by name. Nimue named Nyneve in the original Winchester Manuscript , whom Malory describes as the "chief Lady of the Lake", plays a pivotal role in the Arthurian court throughout his story. She then proceeds to perform some of the same actions as the Lady of the Lake of his sources but is different in some ways. She does this out of cruelty and a hatred of Merlin. Eventually, since she cannot get rid of him otherwise, she decides to trap him under rock and makes sure he cannot escape. She is tired of his sexual advances, and afraid of his power as "a devil's son", so she does not have much of a choice but to ultimately get rid of him. After enchanting Merlin, Malory's Nimue replaces him as Arthur's magician aide and trusted adviser. When Arthur himself is in need in Malory's text, some incarnation of the Lady of the Lake, or her magic, or her agent, reaches out to help him. For instance, she saves Arthur from a magical attempt on his life made by his sister Morgan le Fay and from the death at the hands of Morgan's lover Accolon as in the Post-Vulgate, and together with Tristan frees Arthur from the lustful sorceress Annowre in a motif taken from the Prose Tristan. Nimue instead becomes the lover and eventually wife of Pelleas , a gentle young knight whom she then also puts under her protection so "that he was never slain by her days. In an analysis by Kenneth Hodges, Nimue appears through the story as the chivalric code changes, hinting to the reader that something new will happen in order to help the author achieve the wanted interpretation of the Arthurian legend: each time the Lady reappears in Le Morte d'Arthur , it is at a pivotal moment of the episode, establishing the importance of her character within Arthurian literature, as she transcends any notoriety attached to her character by aiding Arthur and other knights to succeed in their endeavours, subtly helping sway the court in the right direction. According to Hodges, when Malory was looking at other texts to find inspiration, he chose the best aspects of all the other Lady of the Lake characters, making her pragmatic, compassionate, clever, and strong-willed. As summarized by Amy S. Kaufman, "Thought Nynyve is sometimes friendly to Arthur and his knights, she is equally liable to act in her own interest. She can be also selfish, ruthless, desiring, and capricious. She has been identified as a deceptive and anti-patriarchal equally as often as she has been cast as a benevolent aid to Arthur's court, or even the literary descendant of protective goddesses. Malory does not use Nimue's name for the Lady of the Lake associated with Lancelot, who too goes unnamed and may be considered the third one it is highly possible that he had only access to the Suite du Merlin part of the Post-Vulgate Cycle as a source [32]. Malory then counts Nimue among the magical queens who arrive in a black boat with Morgan. Together, they bear the mortally wounded Arthur away to Avalon. Walter Scott wrote an influential poem, The Lady of the Lake , in , drawing on the romance of the legend, but with an entirely different story set around Loch Katrine in the Trossachs of Scotland. Scott's material furnished subject matter for La donna del lago , an opera by Gioachino Rossini. This is translated as "Our Lady of the Lake", making reference to Mary, mother of Jesus as the Lady of the Lake, evidencing fusion between Arthurian legend and middle-Christian history. Alfred, Lord Tennyson adapted several stories of the Lady of the Lake for his — poetic cycle Idylls of the King. He too splits her into two characters; Viviane is a deceitful villain who ensnares Merlin, while the Lady of the Lake is a benevolent figure who raises Lancelot and gives Arthur his sword. Some other authors choose to emphasize a single character. Modern authors of Arthurian fiction adapt the Lady of the Lake legend in various ways, often using two or more bearers of the title. Versions of the Lady or Ladies of the Lake appear in many other works of Arthurian fiction, including novels, films, television series, stage musicals, comics, and games. Though her identity may change, her role as a significant figure in the lives of both Arthur and Merlin remains consistent. Some examples of such 20th and 21st century works are listed below. A number of locations are traditionally associated with the Lady of the Lake's abode. The oldest localization of the Lake is in the Lancelot en prose , written around From Wikipedia, the free encyclopedia. For other uses, see Lady of the Lake disambiguation. Merlin: Priest of Nature. Simon and Schuster. Studies in the Fairy Mythology of Arthurian Romance. Audrey Totter gives a great performance and sells her part convincingly, but without Montgomery to play off physically on screen, their chemistry is never built to a…. Robert Montgomery never gets heralded nearly enough for the incredible risks he took as an actor and as a director. Case in point, his directorial debut is a film shot entirely in POV, and that alone is worth the price of admission. Adrienne Fromsett: "Tell Mr. Marlowe, do you always fall in love with all of your clients? Well this is a new favorite Christmas film of mine. Robert Montgomery's Lady in the Lake is such an incredible feat in first-person cinema. The execution is so brilliant, so inspired, I'll cobble a pair of cement shoes for the plot to go wade into the lake. There were so many times my heart was beating out of my chest, all put on edge by that eerie, heavenly choral score. A stupendously inventive effort in the genre. And yes, Audrey Totter's reactions are golden. Every frame she's on is eye-popping in more ways than one. A noir told entirely in first person is a gimmick, of course, and there's both strengths and weaknesses. As it is, though, the moments it works it works so well that all of the weak stuff can easily be swept under the rug. The climax, the slow crawl to the pay phone, and even the kiss are all starkly memorable. Montgomery's direction moreso than his lame attempt at a brusque accent really keeps the movie moving, even if they have to wallpaper over the gaps with a few direct-to-the-camera sequences. All that being said, Audrey Totter's eyebrows are now one of my most favorite things in the entire universe. Inspired by the first-person narrative of Raymond Chandler's Marlowe novels, first-time director Robert Montgomery tackled the Lady in the Lake mystery by filming it almost entirely in the first-person perspective. It's a unique effect, which was later used, more effectively, in the first half of Dark Passage. Due to its experimentation, Lady in the Lake is something to be admired more than cherished. The limitations of the first-person perspective are glaring, like how it keeps the story contained to sets. We don't even get to go to the titular lake! Montgomery's Marlowe only talks about it in confusing exposition, and that's a huge change from the source novel. The setting change to…. While there is a mystery to be solved here, the dedication of director Robert Montgomery to first person POV takes over the film. The effect is not distant to a first person shooter video game and the acting, to the camera, is awkward and self aware to the point that it completely took me out of the film. While there are moments that work, this is a frustrating film. This has a nice Chandler plot and great Chandler dialogue. Add in the over- clever POV gimmick, with the resultant straight-in-the-camera over-acting, and you have loads of distinctive fun. Merry Christmas! Without the POV gimmick that it's best known for, I don't think anybody would have paid much interest in Lady in the Lake. Otherwise it's a pretty formulaic noir with no great surprises. Maybe that's the reason they decided to make it like this in the first place, knowing full well there really wasn't enough here to make it stand out from the tons of other crime mysteries being made at that time. It was a pretty good decision, actually. There's nothing actually wrong with the story here, it's just recognisable in every single way. That's not really a problem with me, I don't mind a film raking over the…. Review by Chloe. Maybe Robert Montgomery should get some credit for trying something new with the whole 'it's all from Philip Marlowe's POV' thing, but his performance - which, by necessity, is largely narration - is so heinous that I'm not inclined to give him any. Marlowe goes to see Lavery again. Inside the unlocked house, he encounters Lavery's landlady, Mrs. Fallbrook, holding a gun she claims to have just found. Upstairs, he finds Lavery dead, shot several times. He also finds a handkerchief with the monogram "A F". Before calling the police, Marlowe goes to the publishing house to confront Fromsett, interrupting a Christmas party. In private, she denies killing Lavery. Kingsby, learning that Fromsett had hired Marlowe to find Chrystal, tells her theirs will be strictly a business relationship from now on. A furious Fromsett fires the private eye, but Kingsby immediately hires him to find his wife. Marlowe informs the police of Lavery's death. At the scene, he suggests that Muriel was hiding from DeGarmot. DeGarmont slaps Marlowe, and the two men scuffle. Kane takes Marlowe into custody, releasing him only out of Christmas spirit. Marlowe obtains more information on Muriel from a newspaper contact. She had been a suspect in the suspicious death of her previous employer's wife. The investigating detective, DeGarmot, ruled that death a suicide; the victim's parents strongly disagreed. Marlowe finds the parents have been intimidated into silence. His car is then run off the road by DeGarmot. Regaining consciousness after the crash, Marlowe gets to a pay phone and calls Fromsett for help. She takes him to her apartment, where she claims that she has fallen in love with him. They spend Christmas Day together while he recovers from his injuries. Kingsby receives a telegram from his wife, asking for money and, unable to find Marlowe, goes to Fromsett's apartment to ask her if she has seen the detective. Marlowe agrees to give Kingsby's money to Chrystal, as Kingsby is being followed by police detectives. Placing his trust in Fromsett, Marlowe instructs her to have the police trail him, following a trail of rice he will leave. The woman Marlowe meets turns out to be Mildred Havelend, alias the "landlord" Mrs. Fallbrook, alias Muriel. She killed Chrystal — the "lady in the lake" of the title — in addition to her former employer's wife and Lavery. DeGarmot was in love with Havelend and helped her cover up the first murder. Then she fled from him and married Chess. Havelend pulls a gun on Marlowe in her apartment. DeGarmot tracks them down, having overheard Fromsett speaking to Captain Kane and following Marlowe's trail of rice. He plans to kill them both with Havelend's gun and stage it to look like she and Marlowe shot each other. DeGarmot then shoots a pleading Mildred several times. Kane arrives just in time to gun down his own crooked cop.

Review: Lady in the Lake by Laura Lippman - Arts - The Austin Chronicle

The acting was often awkward, and I feel really bad for Audrey Totter for having to pretend to seduce a literal film camera lmaoo. The Magical Murder Mystery Tour. Lady in the Lake's first-person filmmaking gimmick is undoubtedly novel for the time period, but director and star Robert Montgomery's approach to this Philip Marlowe adaptation is pretty much the only interesting thing about it, as its central mystery doesn't really offer much in the way of surprises and the plot simply feels empty. Definitely some problems with this but I just really appreciate what they were going for. Haven't seen much like that from that time period and it was impressive. Some of the POV closeup shots were incredible. We only see Montgomery as Marlowe a few times, when he looks in mirrors. Anyways, I like this version of Marlowe that we see, or rather, hear, in this adaptation. The Lady In The…. I get what it was trying to do and they picked the right genre to do this with, however, the plot was incredibly stale and the characters were not captivating at all. Also, zero swords - Very disappointing. I read a few more Raymond Chandler novels recently and was curious to see the film adaptations, which aren't as well known as The Big Sleep etc but all sounded interesting in their own way. This first one is a particularly interesting production, because Robert Montgomery opted to shoot it all POV style, only appearing as Marlowe in reflections and a couple of short scenes where he speaks directly to camera. I found this pretty charming and inventive to begin with, less so as the film starts to run out of steam a little later on - not helped by a few changes to the source material that stretch credibility a little, and the presumably budgetary? Loved the book but the movie took many liberties that did not benefit the final product. This means the old version of…. NOTE: There is a new and improved version of this list currently being compiled. It is recommended to switch to…. I cloned this list from here: letterboxd. A work in progress, with many films still to add. Corrections are always welcome, email is preferred: kevin royalbooks. Lady in the Lake. Where to watch Trailer. Director Robert Montgomery. George Haight. Gene Ruggiero. Paul Vogel. Edwin B. David Snell. Jack Dawn. Studio Metro-Goldwyn-Mayer. Genres thriller mystery crime. I really like this movie a lot! Haters gonna hate. The cameraman union is not going to be happy an actor took their job. You'll meet the people. You'll find the clues. Hey Drew hope retirement is treating you well And yeah, I get his point. See how a store is chosen for you. Loading, please wait Free 2-Day Shipping. Same Day Delivery. Lady in the Lake - by Laura Lippman Hardcover. Help us improve this page. About this item. Specifications Number of Pages: Description A New York Times Bestseller The revered New York Times bestselling author returns with a novel set in s Baltimore that combines modern psychological insights with elements of classic noir, about a middle- aged housewife turned aspiring reporter who pursues the murder of a forgotten young woman. Report incorrect product info. For the fight scenes, Paul Vogel , the director of photography, used a modified Eyemo camera with a flexible shoulder harness. Reviews of the film were not appreciative of the new approach. Most critics gave the director credit for trying an experimental technique but felt that it was a "gimmick", and that the experiment had been a failure. Author and film critic Leonard Maltin awarded the film two and a half out of four stars, commending its first person perspective storytelling , but criticized its confusing plot and dated presentation. Lux Radio Theater presented a minute radio adaptation of the movie on February 9, , with Montgomery and Totter reprising their roles. From Wikipedia, the free encyclopedia. This article is about the film noir. For other uses, see Lady in the Lake disambiguation. Australian theatrical release poster. Release date. Running time. Play media. The Life of Raymond Chandler 1st ed. New York: E. November American Cinematographer. Retrieved October 1, The New York Times. Retrieved July 16, In making the camera an active participant, rather than an off- side reporter, Mr. Montgomery has, however, failed to exploit the full possibilities suggested by this unusual technique. Leonard Maltin's Classic Movie Guide. Works by Raymond Chandler. Philip Marlowe. Raymond Chandler Speaking. Films directed by Robert Montgomery. Categories : films English- language films crime drama films s mystery films American films American Christmas films American crime drama films American detective films American mystery films American black-and-white films Film noir Films based on American novels Films based on works by Raymond Chandler Films directed by Robert Montgomery actor Films shot from the first-person perspective Metro-Goldwyn-Mayer films s Christmas films directorial debut films drama films. Hidden categories: Articles with short description Short description matches Wikidata Template film date with 1 release date. Namespaces Article Talk. Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file. Download as PDF Printable version. Wikimedia Commons. Robert Montgomery. https://uploads.strikinglycdn.com/files/d93dd464-e3ae-49c7-afb9-954d05f5d7db/bismarck-609.pdf https://static.s123-cdn-static.com/uploads/4641181/normal_602145941517b.pdf https://files8.webydo.com/9586560/UploadedFiles/E34ABB8D-F306-7C95-ED5A-8D544EE134BB.pdf https://files8.webydo.com/9590191/UploadedFiles/A5A1EED3-DBC1-4E98-A3C7-142C7BECC430.pdf