Tim Burton's Big Eyes -- starring Amy Adams and Christoph Waltz -- tells the story of Margaret Keane (Adams), the artist behind the portraits of big-eyed waifs that swept the nation in the late fifties and early sixties. Only back then, everyone believed it was her husband, Walter (Waltz), who was behind the paintings. Eventually, the matter was sorted out in court. But it was a long road to redemption for Margaret, a journey that's depicted with both drama and humor in the film.
A snippet from my full review:
A snippet from my full review:
4 out of 5.Big Eyes may be set some fifty years ago, but it represents an evolution for Burton, who eschews the trademark gothic imagery that has served him so well throughout the majority of his career, in favor of a stylized take on the fashion and architecture of the era.
As for its central character, Margaret, she's a woman with an intense emotional connection to her art. It's a role that plays into Adams' strengths as a dramatic actress, for over the course of the narrative, Margaret goes from being a naive innocent — not unlike the wide-eyed children she paints — to a more strong-willed character, driven by her struggle to break free from the shackles of the male-dominated culture and to retain her artistic integrity (and identity).
Not that Big Eyes can be considered a straightforward drama. In fact, the film often skews towards comedy, partially due to Waltz's exaggerated turn as Margaret's savior-turned-antagonist. Likewise, the performances from the movie's supporting players — including Krysten Ritter as Margaret's friend, Danny Huston as an investigative reporter (and the film's off-and-on narrator) and Terence Stamp as a high-and-mighty art critic — are equally lighthearted.