The film \u201cBig Eyes<\/em>\u201d is a biography from the 1950s and early 60s, based on a true story of a man named Walter Keane known as Christoph Waltz who achieves insane fame from drawings and paintings of saucer-eyed waifs as they were called. His fame came from his wife\u2019s paintings. Margaret Keane, Walters wife, is terrified when she comes to find out that her husband has been selling her artwork and taking credit as if it were his own. She is horribly upset but is too scared to loudly protest about it.<\/p>\n\n\n\n

Margaret draws and paints kids, such\nas her daughter, as well as adults and animals on canvases, the figures have\nregular sized bodies, yet big, abnormal sized eyes, which is what makes her\npaintings so different and unique compared to others. Just like many artists,\nevery drawing and painting that Margaret makes has a story behind what is going\non when you look at it. In the film, when the camera shows Margaret painting,\nthey show all the little detail that she puts into her paintings and drawings\nthat make them look so visually realistic and very nice to look at in my\nopinion. As you see her paintings in the movie, you see how she puts so much\ndetail into the background of her artwork. She blends certain colors of paint\nso she can get the right color she needs for the painting she is working on.\nYou can visually see very detailed figures such as creases in their skin, along\nwith most of her paintings having a very serious face, almost as if the child\nand or adult is angry or going through something personal or tragic. Walter\ntakes credit for all his wife\u2019s paintings and refuses to let her put her mark\non her own work. <\/p>\n\n\n\n

There are many artistic techniques\nshown in this film, such as the detail and shadowing in Margarets paintings.\nThe detail in the skin  and the outfits\nof the children and adult figures are wearing in each painting, along with the\nanimals that Margaret paints next to the kids in some of her paintings where\nthe dogs even look sad because their faces are straight with no emotion or\nexpression. When Margaret paints her children with big eyes, it is clear that\neach child looks different, each has a different appearance and the children\nare a mixture between boys and girls. Some have long hair, some have short\nhair, but two of the things that the children have in common are how serious\nthey are, and their posture is straight and firm. Although, the movie was well\nproduced and directed, credit should be given where it is due. For example,\nMargaret paints every painting that Walter decides to sell or give away. During\nthese actions, the people he would talk to about the paintings would tell him\nthat they were very nice and he would take full credit for paintings that were\nnot even his. Therefore, he should have given Margaret credit for her paintings\nthat he is selling and giving away. <\/p>\n\n\n\n

A few things that I really enjoyed\nabout this film were how the audience could visually see how passionate\nMargaret was about her paintings. The audience could tell that if she was\ncredited, she could have been famous for her artwork, which technically she was\nbecause she painted the paintings, but everyone knew them as her husband\nWalter\u2019s works. Margaret was passionate about her painting and liked the way\nshe did what she loved because when Walter would suggest a new style to her,\nshe would brush it off and continue to do the style she was comfortable and\nfamiliar with. Now, when it comes to aspects of the movie that I did not like,\nthat would include, Walter not giving Margaret any credit for all the hard work\nthat she put into the paintings that she would spend months working on. Along\nwith not realizing how passionate she was about painting. He would sell or\ndonate her paintings, like they were nothing at all just to make money from\nthem. He sold one of her paintings that he claimed as his own and got a $5,000\ncheck for one of the paintings that Margaret had painted. While watching this\nfilm, I did not agree at all with the fact of Margaret not getting any credit\ndue to her for everything she had worked hard for. Everyone deserves credit for\ntheir work that they had created. Walter should have given Margaret credit for\nthe paintings he would ask her to make for him to sell and give away, but he\ndid not. He would tell everyone that he is the one who painted everything he\nsold and gave away. <\/p>\n\n\n\n

In the end, Walter never accepted\nthe facts. He went on for the rest of his life insisting he was the true artist\nof the big eyes paintings and the other paintings that Margaret had made. He\nsaid that he only took credit for the paintings because he needed money and\nMargaret\u2019s paintings sold for a lot so he would sell them without her consent.\nHe kept the money for himself but later on, gave the money to Margaret because\nit was supposed to be hers for the paintings she made for him, after she had\nfiled for a divorce from him. Walter passed away in 2000, angry, homeless and\nbroke because he did not want to be honest with the people he was lying to his\nwhole life. He never made another painting after that. After Walter passed\naway, Margaret found happiness within herself \nand remarries. After living in Hawaii for many years, she decided to\nmove back to San Francisco where she previously lived and decided to open a new\nart gallery. To this day, she still has the passion to paint every single day\ndespite what she went through with Walter. <\/p>\n\n\n\n

I feel as though in some ways, Margaret is a role model to young artists. I say that because even though she went through a lot in her marriage, with her husband taking all the credit for the work she would spend countless hours and months working on, she never found the need to give up or stop standing up for what she had a passion for. She proved her point after so long that she was the one telling the truth and that she was the one behind all these paintings that Walter was taking the credit for, selling and donating. I feel as though most artists back then would not have stood up for painting the way Margaret did, and for that a lot of people should look up to her if they don\u2019t already. The movie made me feel this way because I feel as though most artists back then would have let people criticize and take credit for their work then give them credit for what they had created with their talent. As shown in this film, Margaret chooses to stand up for herself and bring Walter to court because he refuses to give her credit for the beautiful paintings she has made and to divorce him because he was a drunk and physical with her. There is a scene in the film when Margaret is in her painting room and Walter walks in and sees that she is painting in a completely different style. He asks her why she decided to change it up and she tells him she wants to try something different. In this scene if you watch Margaret’s hands carefully while she is painting, you can see how she uses this brush strokes to make the outline of the faces. <\/p>\n","protected":false},"excerpt":{"rendered":"

The film \u201cBig Eyes\u201d is a biography from the 1950s and early 60s, based on a true story of a man named Walter Keane known as Christoph Waltz who achieves insane fame from drawings and paintings of saucer-eyed waifs as they were called. His fame came from his wife\u2019s paintings. Margaret Keane, Walters wife, is […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[24,16,18],"_links":{"self":[{"href":"https:\/\/artthroughcinema.com\/wp-json\/wp\/v2\/posts\/363"}],"collection":[{"href":"https:\/\/artthroughcinema.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/artthroughcinema.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/artthroughcinema.com\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/artthroughcinema.com\/wp-json\/wp\/v2\/comments?post=363"}],"version-history":[{"count":1,"href":"https:\/\/artthroughcinema.com\/wp-json\/wp\/v2\/posts\/363\/revisions"}],"predecessor-version":[{"id":364,"href":"https:\/\/artthroughcinema.com\/wp-json\/wp\/v2\/posts\/363\/revisions\/364"}],"wp:attachment":[{"href":"https:\/\/artthroughcinema.com\/wp-json\/wp\/v2\/media?parent=363"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/artthroughcinema.com\/wp-json\/wp\/v2\/categories?post=363"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/artthroughcinema.com\/wp-json\/wp\/v2\/tags?post=363"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}