Based
on
a
true
story
that
made
headlines
in
the
early
1970
in
the
US,
"Big
Eyes" is
the
tale
of
deceit
and
exploitation
in
the
matrimonial
sphere
of
an
expressionist
artist,
where
the
husband
takes
credit
for
his
wife's
work.
Narrated
through
the
point
of
view
of
Dick
Nolan,
a
senior
columnist
of
a
leading
daily,
director
Tim
Burton
unveils
the
turbulent
ten-year
period
in
the
life
of
the
stifled
artist
and
housewife,
Margaret
Ulbrickm,
who
painted
portraits
of
sad,
saucer-eyed
waifs.
After
a
failed
marriage
in
1958,
Margaret
travels
along
with
her
young
daughter
from
North
Carolina
to
North
Beach
in
San
Franciso
where
she
meets
a
smooth
talker
and
fellow
struggling
artist
Walter
Keane,
who
woos
her.
With
an
unhappy
marriage
behind
her
and
a
grim
future
before
her,
Margaret
happily
accepts
Walter's
proposal
for
marriage.
After
a
short
honeymoon
in
Hawaii,
high
on
romance
Margaret
simply
signs
off
her
latest
work
with
her
newly
acquired
surname
'Keane'.
In
the
meanwhile,
Walter
manages
to
display
her
work
along
with
his
in
an
upmarket
nightclub
owned
by
Enrico
Banducci.
Disgruntled
with
the
location
of
the
display
area,
a
fight
with
Enrico
leads
to
headlines
and
interest
in
the
paintings.
And
soon
Walter
sells
Margaret's
work
as
his
own.
He
cajoles
her
with
"People
do
not
buy
lady
art.
There
is
no
market
for
it." He
also
assures
her
that
now
that
they
are
one,
the
sale
benefits
"the
family".
Margaret,
though
hurt,
gives
in.
Walter
steadily
builds
an
empire
marketing
her
paintings
and
posters
as
his
creations.
And
then
when
things
go
out
of
control,
he
blackmails
her
with,
"We
have
committed
a
fraud".
Now
guilt-ridden
and
subjected
to
Walter's
tyranny,
she
flees
San
Francisco
to
Hawaii,
where
she
joins
a
cult
that
call
themselves
Jehovah's
Witness
and
one
fine
day
on
a
radio
programme,
she
reveals
to
the
world
that
she
is
the
only
artist
in
the
family.
The
script
subtly
brings
the
underdog
story
to
the
forefront
with
issues
of
subjugation
of
women,
intellectual
property
theft
and
the
role
of
the
media
in
manipulating
public
opinion.
Burton
handles
the
compelling
subject
deftly
and
delicately.
And
his
two
lead
actors
do
full
justice
to
their
role.
Christoph
Waltz,
as
the
talentless
Walter
Keane
is
energetic
and
far-reaching.
He
goes
to
absurd
lengths
with
his
performance
that
reveals
the
sleaze
and
sliminess
of
the
character.
It
is
a
treat
to
watch
him
defend
himself
at
the
trial.
Similarly,
Amy
Adams
shines
as
Margaret.
Her
transformation
from
a
shy
person
to
a
guilt
ridden
slave
working
on
canvas
after
canvas
and
then
gradually
shifting
gears
to
an
obstinate
and
forthright
person,
is
subtle
and
evoking.
She
touches
an
emotional
chord
and
is
a
brilliant
contrast
to
Waltz's
Walter.
The
two
are
efficiently
supported
by
Krysten
Ritter
as
Margaret's
friend
Dianne,
Jon
Polito
as
Enrico
Banducci,
Danny
Huston
as
the
tabloid
reporter
Dick
Nolan,
Jason
Schwartzman
as
the
art
gallery
snob
and
Terence
Stamp
as
John
Canaday,
the
snooty
New
York
Times
art
critic.
The
production
is
of
fine
quality
and
the
tone
of
the
visuals
are
earthy
and
atmospheric.
They
capture
the
era
with
minute
perfection.
Overall,
"Big
Eyes"
is
a
fascinating
tale
simply
told
with
good
performances
and
without
much
complications.