Synopsis: 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.
Stars: Amy Adams, Christoph Waltz, Danny Huston, Jason Schwartzman, Terence Stamp, Krysten Ritter
Director: Tim Burton
Running Length: 105 minutes
Trailer Review: Here
TMMM Score: (5/10)
Review: When I was young I was always frightened of these two paintings in my grandmother’s house. They were tall, slim paintings each of a ballerina with large eyes and I made it a point to skirt by them without making eye contact with their black orbs. Now, I’m not sure if these were paintings by Margaret Keane or entries from the numerous knock-offs that came about after the phenomenal success of the Keane Big Eyes movement; but seeing Tim Burton’s film on the life of the woman behind the eyes brought back these memories in full force.
It’s nice to see Tim Burton (Dark Shadows, Frankenweenie) make a film featuring not one actor he’s worked with before (thanks for sitting this one out, Johnny Depp and Helena Bonham-Carter) based on a subject that has some curio cultural significance. However, the film feels de-Burton-ized so much that it’s hard to pick out much of anything that indicates the man behind Batman, Beetlejuice, or his much better biopic Ed Wood was running the show here.
Early buzz indicated that Amy Adams (American Hustle, Her) would land another Oscar nomination and win for her role as painter Margaret Keane and she just may have stood a fighting chance had the script from Scott Alexander & Larry Karaszewski not presented Keane as such a wet noodle. As the picture opens she’s leaving her husband and taking her young daughter hundreds of miles away to San Francisco with no real prospects. In that time that would have been considered a fairly gutsy move so it’s odd that no sooner has she set up a home, a job, and a weekend painting gig in a local park that she’d succumb to the charms of the first man that comes calling. Adams is a bright presence on screen but comes off rather dull here.
Margaret’s relationship with Walter Keane (Christoph Waltz, Django Unchained…more on him later) may have been a saving grace for the young mother but when he starts to indicate to the outside world that he is responsible for the big eyed waif paintings she’s created it’s an amazement that it takes her over a decade to break free of his slimy grip and even longer to lay claim to her work. Keane herself acknowledges that she was fairly complicit in the charade but the film always makes it seem like she was under duress (literally being locked in an attic with a paintbrush and easel) and helpless.
If anything really puts a pin in the underwhelming nature of it all it’s Waltz’s bizarre performance as the duplicitous Walter. The usually reliable Waltz is totally on a raft out to sea here, barely hiding his German accent (Walter was born in Nebraska) and devouring every bit of scenery and several of Colleen Atwood’s (Into the Woods) striking costumes. By the time we get to a courtroom denouement Waltz is in full Joan Crawford mode, acting the hell out of a cross-examination of himself as he’s acting as his own attorney.
Burton’s penchant for CGI effects is thankfully kept on a tight leash here and the picture is lovely to look at, but it’s an overall shallow affair that finds Adams gamely treading water through a Waltz storm of melodramatic acting.