Big Eyes 2014

Movie review score

Big Eyes 2014.DVDSCR.XviD.AC3

A drama about the awakening of the painter Margaret Keane, her phenomenal success in the 1950s, and the subsequent legal difficulties she had with her husband, who claimed credit for her works in the 1960s.

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Last year, Amy Adams gave a tour-de-force performance in "American Hustle". She created one of the most intriguing characters of the year, a layered, scarred woman always in control, while moving everyone around like chess pieces to secure a better life for herself. It's a performance that probably would have won Adams an Oscar had she not been in competition with the seismic turn by Cate Blanchett in "Blue Jasmine". Knowing she would fail to win the Academy Award, I placed a good amount of faith in Adams, hoping she would once again hit a homerun with "Big Eyes".

Now, a year later, "Big Eyes" is not quite the triumph "American Hustle" was for Adams, but she still gives terrific performance. Adams orchestrates her portrayal of the real-life painter in a softer key, but her work is never-the-less a marvel.
Tim Burton has been sleepwalking his way through most of his recent cinematic outings, sticking mainly to empty and uninspired Gothic pieces. But no matter how eccentric, and even questionable, his work got, Burton has had his group of supporters rallying him through the likes of "Alice in Wonderland" and "Dark Shadows," which is similar to the subject of "Big Eyes" itself. Margaret Keane's paintings are outlandish in a way; her portraits of the big-eyed children may not be appreciated by everyone.
That connection between the two artists is felt and communicated through Burton's stylish work in telling Keane's story. The sets and costumes are brushed with big strokes of color and allure, but in a fresh way for a Burton film. There's a happiness in knowing Burton is still capable of telling a story about real people, not just quirky, extremist, fictional characters. Even though stepping out of the tedious puddle in which most his films have been stuck is a commendable change, Burton's direction is not flawless. (Besides a few writing choices, the directing racks up the most flaws in "Big Eyes".) The film floats in and out of moods and temperaments, there's an inconsistently present narrator throughout, and some unpleasantly executed scenes towards the film's conclusion.
Yet, there's a lot to admire in "Big Eyes." Margaret Keane's story is the awakening of female empowerment. "Big Eyes" captures a moment in history, a pivotal one for women: she had the talent, an entire empire was built from her work, and "Big Eyes" is Margaret realizing she could have the credit too. The early scenes will rattle the feminists watching, the middle scenes will make them react with an infuriating sadness, and the ending's victory will be a cause for celebration of Keane's unsung heroism.
The two principal actors are the heart and soul of the film, their chemistry and winsome performances make "Big Eyes" a trip worth taking. Christoph Waltz has an over-the-top character, and yet I never felt him, as an actor, going overboard. He encapsulates Walter's charisma and delusion, and presents a case for one of the film's prominent themes: talent verses salesmanship. Adams will break your heart as Walter keeps her caged up, forcing her to work and work but receive noting in return. You cannot help but have a zealous affinity to Margaret because of how fluently Adams portrays her struggle and pain. Her acting style is heavily reliant on the how well she can depict the emotions in her eyes, so it's interesting to see how Adams connects with Keane and portrays her. Burton frames most of Adams's scenes by generously giving her the mise-en-scene to slay us with what's behind her eyes.
Adams carries the affable feminist tale in "Big Eyes" to success with strong sense of suffering and evolving submission.

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