Big Eyes
/The painting says “Keane.” I’m Keane. You’re Keane. From now on, we’re one and the same.
~ Walter Keane
Quick fox: C-
winding dragon
Practically every movie about an artist follows a common thread: the struggle of the individual to be successful in a harsh and competitive society, but still retain a certain level of autonomy and personal connection to their work. Great films are able to take this repeated element and depict the unique sacrifices the protagonist surrenders in pursuit of their dreams—The Artist and Foxcatcher are excellent examples.
Unfortunately for Big Eyes (2014), it fails to depict the struggle of the artist in a meaningful or emotional way. Directed by Tim Burton, Big Eyes is based on the true story of Margaret Keane (Amy Adams), whose paintings of children with enormous eyes catapulted the name “Keane” into popularity during the 1960s. However, all of her artwork was sold under her husband’s name, Walter Keane (Christoph Waltz), and he received the acclaim. After divorcing Walter, Margaret claimed to be the true creator and sued her ex-husband. It wasn’t until a judge ordered both to paint in the “Keane” style—Margaret completed a piece in under an hour while Walter declined due to an alleged shoulder injury—that she was awarded the credit for her own work.
I think the biggest disappointment for me is that Big Eyes focuses more on displaying the relationship between Margaret and Walter than on Margaret and her paintings. Long after the trial, the real-life Walter insisted that he is the true artist, and it feels as though this film is so intent on disclaiming him that it forgets about who the film is supposed to be about. For the majority of the picture, Waltz’s portrayal of a manic narcissist obsessed with fame steals the spotlight, and reduces Margaret to a shadow in her own biopic.
I would have been more at peace with it if the purpose of Big Eyes was to emphasize the cost fame/wealth has on marriage or if the movie was showing the tragedy of a beautiful relationship destroyed by ambition. But it doesn’t. Walter’s crooked smile and exaggerated flair makes it impossible for the audience to sympathize with him. From the moment Margaret meets Walter, it is clear that he is pulling off one long con.
Instead, the film is clearly trying to show that the sacrifice Margaret makes is the loss of personal connection to her artwork. Being trapped in a terrible marriage is just a side effect of that sacrifice. The problem that Big Eyes has is that it does not take the time to explore how Margaret’s identity is attached to her paintings. Her personal mantra is, “eyes are the window to the soul,” and she literally illustrates it by drawing children with large, morose eyes. Except that line is just hollow words in the film, for it never shows Margaret in her creative process. She never studies people to see that “window” and form connections between life and art. She has a daughter, but she spends so little time with her that it’s difficult to understand her personal attachment to the paintings.
I don’t hate Big Eyes, but it wasted its potential. Amy Adams and Christoph Waltz give amazing performances, but the screenplay let them down. If you are a Tim Burton fan, then I think it might be worth watching simply because it’s unlike any other film he’s directed thus far.