Tim Burton’s movies are typically set in fantastical worlds, with wacky characters (usually at least one is played by Johnny Depp), a unique story, and tons of makeup, costumes, and bold colors. Many are calling “Big Eyes”, Burton’s latest, the most “normal” movie he’s ever made. And after seeing this dramedy biopic, based on a “hard-to-believe but it actually happened” true story, I’d have to agree.
In 1958, Margaret (played by Amy Adams) leaves her husband, and she and her young daughter Jane move to San Francisco to start a new life. At the time, this isn’t something women, especially housewives, normally did. Margaret is a talented painter and hopes to become a big success someday, though she cares more about her customers enjoying her work than making a lot of money. But she soon meets fellow painter and salesman extraordinaire Walter Keane (played by Christoph Waltz). Margaret’s paintings of children with unusually large eyes immediately catch his eyes, and they immediately become romantically involved.
In order for Margaret to avoid losing custody of Jane, she and Walter decide to get married. Walter is struggling to sell his paintings of Paris street scenes, but he thinks Margaret’s paintings could be a hit. However, since no one during this time is interested in purchasing “lady art”, he begins to sell Margaret’s “Big Eyes” paintings under his name, telling everyone that he paints them. Margaret initially disagrees with the strategy (since she has to keep this secret hidden from everyone, including Jane). But when the money starts pouring-in, there’s no way she can stop Walter and the exploding “Big Eyes” phenomenon.
Amy Adams has been nominated for five Academy Awards. She’s bound to win one someday, but it’s not going to be for playing Margaret Keane. And it’s not because she gives a bad performance – in fact she’s very good here. But this role simply isn’t “showy” enough to warrant Best Actress consideration, and Adams is able to take this character only so far. Margaret is a quiet, passive woman, who keeps most of her painful emotions inside. Adams often conveys them through her own, glistening eyes. These include most of the scenes with her daughter, and a key confrontation with Walter which provides the sole twist in the movie.
Like he did in 2012’s “Django Unchained”, Waltz dominates the screen time even though this is a supporting performance. Walter becomes more obsessed and unhinged as “Big Eyes” progresses (the Burton influence), and handles the tricky job of being an actor who’s essentially playing an actor. By the third act (which, unfortunately, isn’t as strong as the first two), you really grow to hate this guy. There’s a climactic trial showdown between husband and wife that takes way too long and takes this story to a ridiculous level. Maybe Burton wanted to add “courtroom drama” in his career resume.
Burton’s trademark directing style is largely missing from “Big Eyes”. Outside of a short sequence with Margaret in a supermarket and a few other scattered moments, it’s hard to believe that Tim Burton is the man behind this film. It’s as if, parallel to the plot line, he had someone else direct “Big Eyes” for him and he’s getting the credit. However, even without the unique visual look we’ve come to expect from Burton, he’s still able to deliver a compelling story that keeps us interested as it unfolds. And he provides a look into the art world at the time, and the concept of financial success vs. critical success vs. personal success. Ultimately, like in the lyrics of the title song by singer Lana Del Rey, “Big Eyes” shows how two people’s big lies can turn their lives upside down.
The supporting cast is led by Krysten Ritter as Margaret’s closest friend, Danny Huston as a newspaper gossip columnist, Terence Stamp as an art critic, and Jason Schwartzman in a small role as the owner of a rival art gallery. He adds the film’s few laughs, but his character also exposes a major flaw in the script which clouds an otherwise wacky but believable story.
On The Official LCJ Report Card, “Big Eyes” gets a B-.