A drama about the awakening of the painter Margaret Keane, her phenomenal success in the 1950s, and the subsequent legal difficulties she had with her husband, who claimed credit for her works in the 1960s.
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In San Francisco in the 1950s, Margaret was a woman trying to make it on her own after leaving her husband with only her daughter and her paintings. She meets gregarious ladies' man and fellow painter Walter Keane in a park while she was struggling to make an impact with her drawings of children with big eyes. The two quickly become a pair with outgoing Walter selling their paintings and quiet Margaret holed up at home painting even more children with big eyes. But Walter's actually selling her paintings as his own. A clash of financial success and critical failure soon sends Margaret reeling in her life of lies. With Walter still living the high life, Margaret's going to have to try making it on her own again and re-claiming her name and her paintings. Written by
Amy Adams' Golden Globe award for Best Performance by an Actress in a Leading Role, Comedy or Musical for this film marks her second consecutive Golden Globe win in that category. Her first win was for American Hustle (2013). See more »
(at around 22 mins) When in Club Mandalay, Walter is complaining to Margaret about the difficulty in breaking into the art scene. He says, "You'll never break in. It's a secret society of gallery owners and critics who get together for Sunday brunch in Sausalito deciding what's cool. It's like McCartney and his hearings." Obviously, Walter was referring to U.S. Senator Joseph McCarthy and McCarthyism instead of the knighted musician Sir Paul McCartney. See more »
Based on a true story, brrr... Burton ventures into the realm of TV movie land (that's where most true story movies dwell) although this was a limited cinematic release and also limited success. Amy Adams plays a painter who paints children with Big Eyes. She meets and marries Waltz who shortly after begins to take credit for her work. Adams is cast well as the good virtuous woman and Waltz is a bit type-cast as the friendly but guy-you-love-to-hate-and-wanna-punch-in-the-face bad guy. But he plays it big and sometimes a bit comedic which makes the tone of the film lighter. Big Eyes has a very colorful set- and production design and looks great. The movie itself tough feels like it could have been made by any other director and doesn't have the Burton feel. So you could say it's the least Burton-esque film in his repertoire. Seeing it in the cinemas won't add much value, it's more a nice Sunday afternoon flick that works just as well on your small screen.
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