Directed by Tim Burton from a screenplay by Scott Alexander and Larry Karaszewski (the same trio responsible for Ed Wood), the movie takes place during the 1950s/1960s and deals with one of the most famous art frauds in U.S. history. It co-stars Amy Adams and Christoph Waltz as Margaret and Walter Keane, a married couple who both claimed to be the creator of popular paintings showing little children with enormous eyes.
He steals her work.
Why does he lie?
She goes along
with just a sigh.
Money flows in,
making them rich.
So she holds back,
causing no hitch.
As years go by,
her art earns fame.
But he’s the one
who’s got the name.
Big Eyes explores
the dangers here --
but may not tell
the truth, I fear.
One miscast role
makes scenes unreal.
It’s Christoph Waltz.
How sad I feel!
In this film version, Walter emerges as a manipulator extraordinaire who takes advantage of his wife’s talent. Margaret allows him to continue passing her work off as his because he convinces her “a woman’s art won’t be taken seriously.” Remember, this is the 1950s! Margaret also has a daughter from a previous marriage, so she’s glad to have money coming in. Unfortunately, things get out of hand as Walter becomes more and more demanding. Margaret finally decides to tell the truth to the world. A court battle ensues.
Although I admire both Waltz and Adams as actors, they seem mismatched here. Adams (American Hustle) projects a wide range of emotions, but Waltz overacts outrageously, especially in the trial sequence. Is this the same guy who was so great in two Quentin Tarantino films (Django Unchained and Inglourious Basterds) and won Oscars for his splendid performances?
On the positive side, Big Eyes looks and sounds good, thanks to Bruno Delbonnel’s (A Very Long Engagement) pleasing cinematography and Danny Elfman’s (Big Fish) surprisingly understated background music. Realistic period costumes and sets also add to the film’s visual appeal. Happily, the movie features a priceless supporting turn by Terence Stamp (The Adjustment Bureau) as a snarky art critic who wonders why anyone would admit to painting all those “big eyes” pictures.
Art is what you can get away with. – Andy Warhol
The eyes are the window to your soul. – William Shakespeare
(Released by The Weinstein Company and rated “PG-13” for thematic elements and brief strong language.)
Review also posted at ReelTalk Movie Reviews
I frequented North Beach from 1966-68, and more than once stopped by the upstairs Keane Gallery on Broadway to admire the bigeye paintings and wish that I could buy one… Now I wish I had. I particularly remember one that showed the entire Jerry Lewis family. Jerry was dressed in a blue and gray checkered clown suit.
From The Semaphore, A Publication of the Telegraph Hill Dwellers:
"On one of his “runs” (a day or more of heavy drinking), he got into it with Banducci after insulting patrons and assaulting a woman at Enrico’s Cafe. The altercation resulted in a lawsuit and Keane was charged with disorderly conduct. The charges were eventually dismissed.
While in divorce proceedings, he and his wife Margaret became involved in a contentious lawsuit over the copyrights to the paintings that featured “sad eyes,” usually on a female waif wearing Polynesian attire. The question? Who was the actual painter? In 1970, a “paint-off ” was scheduled for Union Square. It was covered by Life magazine and provided great fodder for Herb Caen’s column. Margaret appeared and painted the “eyes.”
Ron