Big eyes is a 2014 film directed by Tim Burton. Set in the 1950s and 1960s, the film follows Margaret Ulbrich (Amy Adams), a shy artist who tries to sell her paintings while taking care of her daughter alone. She meets and marries the outgoing Walter Keane (Christoph Waltz), who encourages her art of wide-eyed people. After a misunderstanding where Walter is credited as the artist, he continues with the lie, using Margaret’s hugely popular paintings while putting his name on them and taking credit, until Margaret can finally sue him and reclaim her work.
It had considerable financial success and was well reviewed by critics, particularly for Adams and Waltz’s performances. It’s also noticeable that it’s more subdued and even “normal” compared to classic Burton movies like Edward Scissorhands or beetle juice. Still, it didn’t get a big public reception and eight years later it remains one of Burton’s lesser-known films – perhaps because it is so different from his other work. However, the film does a great job of telling the story of Margaret and her art, with great performances. This is why the film needs to be talked about more.
It tells the story of a silenced artist
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Many biographical films are about famous people, but Big eyes stands out for telling the story of a woman who was silent and unknown for much of her career. It gives a look behind the curtain of the paintings that many people still recognize, and pays tribute to the beloved artist behind them. On the other hand, if the audience doesn’t know Margaret Keane, the exploration of her in the film is accessible and exciting for everyone. Whether you know her or not, the film is entertaining and intriguing. It is both fascinating and heartbreaking to watch Margaret at work, how her art is important to her, and then how it is taken from her. It’s a compelling story, and one that’s more powerful because it’s based on a real person – it finally allows Margaret’s story to be told and her art seen to a global audience. The film not only acknowledges her work but also gives her the proper spotlight she never got.
It discusses the importance and power of art
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Big eyes talks about how powerful art can be. Early on in the film we learn that art is Margaret’s form of expression. She’s not as outgoing or talkative as Walter and has trouble holding a conversation with guests during her gallery shows. Her first paintings are inspired by her daughter, making them all personal. The wide eyes speak to her sense of loneliness and fear, and serve as her self-expression. Her art also changes with her life. After Walter claims the wide-eyed painting, Margaret begins to draw in a new style, with thin, pointed faces and narrow eyes. After she left Walter and moved to Hawaii, her paintings are wide-eyed again, but much more colorful and cheerful. Art shows her escape and expression, and the film shows her well”like a real artist‘ according to The Guardian.
Big eyes also shows the wider range of her art. Compared to the abstract art of the time, the wide-eyed paintings initially seemed strange. However, according to the Los Angeles Times, their popularity grew with the general public because they “missed the heart” which abstract art did not offer. Margaret’s work made that heart and became emotional for people, although critics often rejected it because it was approachable. The film shows the disparity between public and critical reception, and that although it was critically hated, the art still had meaning and power for people.
It features great performances
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The film relies on Adams and Waltz to bring the story to life, and they are perfect at portraying the couple and their damaging partnership. Both were nominated for Golden Globes in the comedy or musical category, with Adams winning. She is excellent at showing Margaret and her transformation. She starts out as a shy artist, who struggles to sell her paintings. Then, after being able to work with Walter, she feels trapped and powerless to let him claim the art, especially when women have unfair disadvantages in the art world. Finally, by the end, she’s confident and empowered enough to sue him for the rights to the art. Adams shows all parts of Margaret’s character that makes you empathize with her and want her to succeed.
Waltz serves as her equal in performance. It’s easy to see the charm and charisma that attract Margaret to him. However, this early sympathy melts away and is really gone when he is revealed all along as an impostor and becomes cruel and violent, even threatening to have Margaret killed if she unmasks him. The end of the film informs the audience that Walter insisted that he make the paintings until his death, and Waltz catches up to that stubborn insistence throughout the film. In the final courtroom scene, after the judge orders Margaret and Walter to paint as proof of who painted the pictures, Walter sits there, claiming he is waiting for a muse, then pretends to hurt his shoulder. It’s patently untrue to viewers, but Waltz shows how Walter really believes in the lies he’s told himself.
Lifted by great performances, Big eyes effectively tells a biopic with unexpected layers. It’s a biopic of Margaret and Walter in equal parts; a legal drama; and a celebration of the art it inspired. It may not be Burton’s most popular film, but it’s a strong story about the life and craft of an artist that deserves more recognition.