Big Eyes is a 2014 movie directed by Tim Burton. Set in the 1950s and ‘60s, the movie follows Margaret Ulbrich (Amy Adams), a shy artist who is trying to sell her paintings while caring for her daughter by herself. She meets and then marries the outgoing Walter Keane (Christoph Waltz), who encourages her artwork of people with big eyes. After a misunderstanding where Walter is credited as the artist, he runs with the lie, using Margaret’s massively popular paintings while putting his name on them and taking the credit, until Margaret is finally able to sue him and reclaim her work.
It had decent financial success and was well-reviewed by critics, particularly for the performances by Adams and Waltz. It also stands out for being more subdued and even “normal” compared to classic Burton movies like Edward Scissorhands or Beetlejuice. Yet it didn’t meet a huge public reception, and eight years later, remains one of Burton’s lesser-known films – perhaps because of it being so different compared to his other work. However, the movie does a great job at telling the story of Margaret and her art, with great performances. Here’s why the movie should be talked about more.
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It Tells the Story of a Silenced Artist
The Weinstein Company
Many biographical movies are about people that are well-known, but Big Eyes stands out for telling the story of a woman who was silenced and unknown for a large part of her career. It allows a peek behind the curtain at the paintings that many people still recognize, and pays tribute to the beloved artist behind them. On the other hand, if audiences are unfamiliar with Margaret Keane, the movie’s exploration of her is accessible and exciting for anyone. Whether you were familiar with her or not, the movie is entertaining and intriguing. It’s both fascinating and heartbreaking to watch Margaret at work, seeing how her art matters to her, and then watching it be taken away from her. It’s a compelling story, and one that’s more powerful for its basis on a real person – it finally allows Margaret’s story to be told, and her art to be seen, to a worldwide audience. The movie not only acknowledges her work, but gives her the proper spotlight she never got.
It Addresses the Importance and Power of Art
Big Eyes speaks to how powerful art can be. From early in the movie, we learn that art is Margaret’s form of expression. She’s not as outgoing or talkative as Walter, and struggles to make conversation with guests at her gallery shows. Her first paintings are inspired by her daughter, making them all personal. The big 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 big eyes painting, Margaret begins drawing in a new style, with thin, pointy faces and narrow eyes. After she leaves Walter and moves to Hawaii, her paintings have big eyes again, but are much more colorful and happy. Art allows her escape and expression, and the movie does a good job at showing her “as a true artist,” per The Guardian.
Big Eyes also shows the wider reach of her art. Compared to the abstract art of the time, the big-eyed paintings seemed odd at first. However, according to the Los Angeles Times, their popularity grew among the general public because they “missed the heart” that abstract art didn’t provide. Margaret’s work provided that heart and became emotional to people, though critics often dismissed it for being low-brow. The movie shows the disparity between public and critical reception, and that while it was critically hated, the art still had meaning and power to people.
It Features Great Performances
The movie relies on Adams and Waltz to bring the story to life, and they’re perfect at portraying the couple and their harmful 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 as a shy artist, struggling to sell her paintings. Then, after being able to work with Walter, she feels trapped and powerless into letting him claim the art, especially when women have unfair disadvantages in the art world. Finally, by the end, she is confident and empowered enough to sue him for the rights to the art. Adams shows all the parts of Margaret’s character, making 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 likability melts away, and is really gone when he is revealed as a fraud all along and becomes cruel and violent, even threatening to have Margaret killed if she exposes him. The movie’s ending informs the audience that Walter insisted he made the paintings until his death, and Waltz captures that stubborn insistence throughout the whole movie. In the closing 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, and then pretends he hurt his shoulder. It’s blatantly untrue to viewers, but Waltz shows how Walter truly believes the lies he has told himself.
Lifted up by great performances, Big Eyes effectively tells a biopic with unexpected layers to it. It’s equal parts a biopic of Margaret and Walter; a legal drama; and a celebration of the art that inspired it. It may not be Burton’s most popular film, but it’s a strong story of an artist’s life and craft that deserves more recognition.
