Review of Big Eyes (2014) by Seth S — 28 Jan 2015

It's no secret, Tim Burton and I don't always get along. I hold no ill will towards the director; in fact, I find that I often enjoy his work. I greatly appreciate his entries into the Batman canon. Edward Scissorhands is a unabashedly wonderful film, rich in imagination and emotions. But on the other hand, Beetlejuice and The Nightmare Before Christmas (yes, I know Burton didn't direct) failed to grab me in any meaningful way. And from the little I could stomach of Corpse Bride, I can assume that I would not have a positive reaction to that movie either. In short, I'm no Tim Burton expert. But from the smattering of his films that I have seen, I can't seem to form a consistent throughline of enjoyment, nor can I fully commit to loving any of his films so far. That all comes to an end with Big Eyes.

I loved this movie. It feels good to say. There are no two ways about it, I thoroughly enjoyed every minute of this film. Perhaps, tellingly, it is because Big Eyes is the least Tim Burton-y Tim Burton film to grace the director's filmography. There's no make-up smothered Johnny Depp, no morbid gothic overtones, no whooing Danny Elfman choir, and no senseless imagination, simply for the sake of it. Big Eyes is a historical biopic, but definitely not in the same vein as Selma. While Selma was burdened by a weighty, dramatic, extremely significant story, Burton's film is presented in an artistic enough manner to make the whole experience feel like a work of fiction. The movie isn't afraid to be creative and unique. Burton's imaginative style sets Big Eyes well apart (and ahead) of other recent biopics, like Selma and The Imitation Game.

The story is fairly simple. In the 1950s, Margaret Keane paints "big eye" portraits, and they become wildly popular. She earns riches beyond her wildest expectations, lives in a dream house, and easily provides for her daughter. There's only one problem, Margaret's husband, Walter, has been forcibly taking the credit for these paintings for years.

Even though Big Eyes tells a story of manipulation and abuse, it is still, oddly enough, a wonderfully entertaining time. This is thanks, in large part, to a number of different elements. As already alluded to, Burton's direction is (I can only assume) his best in years. He continually finds inspired and vivid ways to exhibit the story. The cinematography by Bruno Delbonnel is utterly stunning. It's no surprise that a film about art and painters would boast a staggering color palette. Nonetheless, Big Eyes displays a frankly astounding array of colors! There is one scene in an art studio, lit by the reflection off a pool, which is absolutely breathtaking! In addition, the production design by Rick Heinrichs successfully captures the 50s era with a stylish flair.

One of the very most important elements that adds to the overall enjoyment of Big Eyes are the two splendid leading performances by Amy Adams and Christophe Waltz. Adams truly does carry the movie. The success or failure of the film is greatly dictated by the quality of her performance, and she is more than up for the task. Since she is so capable, charming, and commanding in her part, she allows for Waltz to go off the rails as much as he pleases. His performance probably has more than enough bravado to cancel out all the subtleties of a Bennett Miller movie. It's overacting, make no mistake. But it's fun overacting! I can't deny that there are a few moments where Waltz's over-the-top antics detract from the drama of the story, but more so than anything else, he heartily spices up the film.

If I were to sit down with no previous knowledge of the music of Big Eyes, and if some hypothetical someone were to play me Danny Elfman's musical score, my first guess as to composer would be Thomas Newman. That's not to say that Elfman is incapable of writing something like this, but listeners have grown so accustomed to the Burton/Elfman collaborations yielding a certain sound, and Big Eyes certainly is not that sound. But his score fits the film snugly, and it is very enjoyable music in its own right.

There are a handful of period pieces of music, all of which prove unobtrusive. Lana Del Rey lends her talents on two songs. The first, a comically candid illumination of Margaret's feelings, is inserted around the halfway mark. I greatly respect, appreciate, and enjoy Lana's many abilities as an artist, but the song simply adds nothing to the film. She also provides the end credits song, "I Can Fly," and it is much, much better. It's the classic Lana Del Rey sound that I have grown to be a fan of.

Big Eyes suffers only from a misplaced song and an occasionally (and very noticeably) hammy antagonist. Even though the film indulges in some historical biopic trappings (complete with epilogue text and stills of the real people), there is something singularly engaging in the way that Burton tells the story. In a cinematic landscape full of grandiose blockbusters and dour dramas, it is more than refreshing to kick back with a bright and delightful film that tells an absorbing story, and tells it well. Color me pleasantly surprised!

"Eyes are the windows to the soul." 8/10.