Tim Burton’s first attempt at adapting a biopic for the big screen gave us the wonderful Ed Wood. Big Eyes marks his return to that genre, and after multiple big dollar pictures it is a refreshing change for the director. Based on the true story of the Keanes, who in the 60s changed the face of the art world with their distinct artwork, which in turn led to a million dollar mass production business. The whole endeavor was built on a lie, with Margaret Keane, the true talent, being kept behind the scenes while her husband took all the credit for her work.
The story begins in the late 50s, Margaret having left her first husband and taking her daughter to start a new life in San Francisco. Her passion is her art, paintings of children with exagerated eyes, stemming from a childhood bout of deafness. While selling them at an art fair she meets Walter, who in between trying to sell his own paintings of Parisian life, finds time to charm her. Her ex-husband begins seeking custody of her daughter, which accelerates their relationship, and soon the two are married.
Walter, the more savvy business operator, soon has both their works hanging in a restaurant, and in time Margaret’s paintings start to sell, with Walter taking the credit for the pieces as a female artist was a harder sell. Soon the pieces start to sell at an astonishing rate, allowing Walter to open a gallery and cater to higher classes of clientele while pioneering mass poster production to sell reproductions. As the popularity of her art grows so does the weight of the lie, stressing the Keane marriage to breaking point and motivating Margaret to reclaim her name and her works.
It is perhaps telling that the opening line of the film is “The 50s were a great time, if you were a man.” The subterfuge portrayed in the film comes about primarily due to society’s reticence to accept a female artist. The fact that she undervalues her own work exemplifies the problems she faced. The circumstances that force Margaret’s hand into marriage and these acts are a reinforcement of the double standards of the age, frowned upon for being a divorcee, a working woman, and also a single mother. It crafts a very sympathetic character while highlighting the backwards nature that was so prevalent (and in some ways still is) only a few decades ago.
Big Eyes extends these insights into offering commentary on art also. The “Big Eyes” of the title refer not only to the most prominent facet of the paintings but also an aspect of Walter’s character, primarily his greed and thirst for recognition. Each of the dueling Keanes view the art in a different way, Margaret as something personal and an extension of herself while Walter see them as a means to an end, financial wealth, as well as a way to craft a legacy for himself. This contrast between the two offers consideration of an ongoing aspect of the art world where the words “sell out” can be thrown at an artist rather quickly. Another aspect is the “value” of art, how some like a piece because they should or are told to. Walter is the personification of this, a crass schmoozer, whilst Margaret is a more pure soul who just wants to paint what she wants to paint. This contrast is further reinforced by drawing in a critic (the marvelous Terrance Stamp) who punctures Walter’s soaring reputation in response to the crass mass-produced items he is rolling out. Big Eyes succeeds in telling this interesting tale, but achieves far more with its insights into these layers that make up the story.
With Tim Burton at the helm you would expect him to put his own style on the film; however it feels remarkably restrained for him. The vibrancy and kitsch of the 50s and 60s is allowed to come through, and only a subtle layer of Burton is evident. It’s a wonderful marriage of aesthetics. He balances the film well, allowing the aforementioned insights to strongly thread throughout. There are some irksome components — the Elfman score at times feels rather trite, and there is a clunky and unnecessary use of a voiceover from a journalist (Danny Huston) covering the rise of the Keane dynasty. At times the tone of the piece wavers between a factual retelling and something a little more comedic/melodramatic, which somewhat undermines Adams’ wounded performance, but seems a better fit for the more bombastic approach of Waltz.
Burton usually works with a established core of actors, and pushing himself with some new folks is a welcome sight, but perhaps a reminder why he works mostly with established partners. Adams is wonderful in her role as the talented but increasingly subjugated woman. Waltz counters Adams’ more reserved approach with something a little over the top. At times if seems as thought they are acting in entirely different movies rather than just representing different world views. While the vibrancy of Waltz complements the visuals of the film, together they push the more measured work of Adams into the background. Perhaps a deliberate choice, but maybe a tad overdone. The supporting cast including Stamp and Huston are welcome additions, but special mention must be made for Delaney Raye and Madeleine Arthur, who each play Margaret’s daughter Jane at two different ages. The role is crucial in providing a emotional anchor for Margaret and something of a inner voice as well.
THE PACKAGEBig Eyes, as you would expect from Tim Burton, is a visual treat. Thankfully the transfer here does the film justice; it’s crisp with sharp details, vibrant colors, and contrast. The setting during the 50s/60s offers some fantastic decor, designs, and details which are rendered beautifully.
Special features include a UV copy as well as two features. The first, The Making of Big Eyes, delves into the artwork and artist that inspired the film and how it was adapted into cinematic form. It features interviews with cast and crew and is rather illuminating. Also included is Q&A Highlights, where writers Scott Alexander and Larry Karaszewski are joined by Margaret Keane and Jane Keane and a number of cast members for a Q&A after a screening. Only a director’s commentary is obvious in it’s absence. A nice set of extras to compliment the film.
THE BOTTOM LINEBig Eyes is a wonderful telling of a true story but also a deft exploration of creativity and success. It explores different aspects of people, their need for admiration and crafting a legacy but also the more pertinent need to own your own achievements. Strong performances, smart direction, and a nice set of extras make for a fine release.
Big Eyes is available on Blu-ray on April 14th, 2015.
