![]() In time, that will prove a grotesque understatement. ![]() Abashedly, he admits he’s now a realtor but encourages her in her work, insisting that, “You undervalue yourself.” The pert but quiet blonde is quickly swept off her feet by the extravagantly charming Walter Keane (Waltz), whose routine pictures of standard Paris street scenes are accompanied by the painter’s grand tales of his days in the art capitals of Europe. Who “Keane” actually was became a matter of extreme emotional, psychological, creative and, ultimately, legal dispute.Īfter bailing out of her first marriage, Margaret (Adams) grabs her young daughter, Jane, flees suburbia and high-tails it to San Francisco, where at art fairs she charges one dollar to paint kids’ portraits, which invariably depict the moppets with huge, round charcoal eyes. But some things did slip under their radar, which was certainly true of the deeply weird, banal and unremittingly repetitive paintings of, mostly, women and children staring straight out with huge black eyes, works that were signed by someone named Keane. In the 21st century, all sorts of people become famous for the wrong reasons this was perhaps somewhat less true 50-odd years ago, when cultural gatekeepers played a rather more rigorous role. to give it a bounce from the specialized realm to a wider public. ![]() Amy Adams and Christoph Waltz both shine in a distinctive work that will require shrewd handling on the part of The Weinstein Co. This nimble, bemused, culturally curious look at the married instigators of the kitschy “big eyes” paintings of the early 1960s exudes an enjoyably eccentric appeal while also painting a troubling picture of male dominance and female submissiveness a half-century ago. ![]() Big Eyes asserts itself as a nifty sort of Tim Burton companion piece to his earlier Ed Wood, a consideration of self-imagined “artistic” lives that have less to do with art than with notoriety of a very peculiar sort. ![]()
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