Film Review: “Big Eyes”

Tim Burton has given us gothic classics that will last us throughout our lives. From the spook-inducing and gorgeously crafted Nightmare Before Christmas, to the satire of suburbia and tale of acceptance of Edward Scissorhands, he’s produced and influenced a multitude of works that started strong. However, in recent years it has become more a niche thing that is mocked as an outlet for Hot Topic teenagers to showcase how emo is still relevant. (Hint: it’s not). His latest movies has followed a formula, by taking something dark in its subtleties and making it dark all around (i.e., Alice in Wonderland, Dark Shadows) or going back to something that worked once and seeing if he could do it again by bringing it into post-2000s cinema (i.e., Frankenweenie, Corpse Bride). This all changes for Big Eyes where, the more normal that he is opens up more doors than he could possibly imagine.

The film follows the real life events of Walter and Margaret Keane, both painters who are starving artists and find love amongst themselves. When Walter notices that Margaret’s paintings of large-eyed children could be the hottest thing since sliced bread, he decides to take all of the credit (being in the 50s, his reasoning is that no one wants to buy women’s art), and begins to make more than enough money to provide for Margaret and her daughter for another marriage. Things start to turn sour in the art world though, when Walter continues to take the credit and Margaret perpetuating the lie with her silence and we watch to see how this will resolve with the credibility of the artist in a world that is against her.

First off, the casting choices are perfect, almost seeming like a Wes Anderson film more than a Tim Burton film. Amy Adams is the soft-spoken, kind-hearted but determined Margaret Keane. Christoph Waltz is the charming, yet devious Walter Keane. Krysten Ritter as Margaret’s friend, Dee-Ann, Jason Shwartzman as Reuben, the pretentious art gallery curator and Danny Houston as Dick Nolan, a gossip reporter and the narrator. The acting is very well played out, with every scene getting a little more tense each time. Some may call it predictable, but we want and do see Margaret grow in her attempts to showing off her art. Christoph Waltz is an entertaining antagonist where his psychological breakdowns of Amy Adams makes you love to hate him. However, during the climax, he goes from being charming and cunning to an all-out cartoon character. He’s very over the top, not necessarily convincing the audience that he painted all of the big eyes, but more so trying to prove it to himself.

The cinematography is gorgeous, there are shots of pure symmetry (again, like Wes Anderson), but just a little off-kilter to add a little spice. The shots where there is just pure solid color in the background are marvelous and really add to the theme of knowing where your inspiration and color come from. The close-ups are intimate and never feel forced, and the setpieces of 50s San Francisco are stunning. Everything from the neon to the color of the galleries pop. The apartment to the new house are both eye-catching in the morning, afternoon, and night. The sequence where Margaret finds her inspiration was very well done and give you that whole “Uncanny Valley” feeling. You know that they eyes are off, but you can’t stop staring at those windows to the soul. The music is also unlike anything that we’ve heard from Danny Elfman. There are times where it feels a little stereotypical, when going to Hawaii or showing a fancy ball, the choices kind of shout out “HEY, WE’RE IN THIS LOCATION NOW, CAN YOU TELL?!”

Overall, this a decent film that has aspects of a Burton production, but not necessarily pushed in your face for jaw-dropping effect. It’s not very loud, it’s subtle, the big eyes do all the work. For any art lover, you focus more on the paintings than on the shots, both of which leave you breathless. Another thing that hit home for me was the representation of Jehovah’s Witnesses in the movie. When I was a member of the faith I did the EXACT same thing that these actors did and they captured it perfectly. Big Eyes does have the prospect of creating a new movement in Burton films. Others may say that he’s a little late to the indie party with all of the pastels and the Anderson flair, but to see him something other than what he was mostly good at is a gift to the eyes.