‘Big Eyes’ Amy Adams Paints In Secret (Review and Trailer)
In Tim Burton’s latest effort, Big Eyes, there is no sign of Johnny Depp and instead Amy Adams paints in secret as Margaret Keane while Christoph Waltz as Walter Keane takes credit for the the big eyed children in his wife’s paintings. This true tale is based upon the 1980s court case where the artistic couple went to battle in a Honolulu courtroom to prove who really was the creator of the “waifs” who took the world by storm, earned Mr. Keane millions and made fans of Hollywood stars who commissioned paintings done that featured the large eyed children.
Looks like none of those “ten other stories” that Quentin Tarantino had up his sleeve sounded as good as his Western homage The Hateful Eight and he may be reviving it from the realms of the shelf. The Pulp Fiction director threw a fit earlier when a website got hold of his draft first script of the film that he says was to be a homage to The Magnificent Seven and leaked it all over the Internet.
Quentin Tarantino is throwing a huge fit, someone has leaked his script all over Hollywood and he is now not going to make the movie, but, what is really eating him up? Is Tarantino really that upset that a first draft script was leaked? Could the real problem be one of trust? Is it something else entirely?
At the beginning of the film both couples are united in their dual purpose of handling the fight between their sons like civilized adults.
Investment broker Nancy and her lawyer husband Alan both admit that their son Zachary hit Ethan in the mouth with a stick as part of a fight.
Michael and Penelope are magnanimous in their acceptance of Zach’s parents admission of culpability. Everything is correct and proper.
The trouble begins when Nancy and Alan attempt repeatedly to leave with promises of returning with Zachary later in the evening to get the boys to talk out their differences.
The longer the two couples are together the more their separate facades begin to slip and the true nature of their relationships with family and each other starts to show. As the cracks widen we get to see the real people underneath.
Penelope is an anal bleeding heart liberal who is rabid in her belief that people can settle their problems in a civilized manner. Michael is a hot headed, short tempered, narrow minded bigot.
Nancy is a stressed out, bored and unhappy woman. Alan has no interest in anything that does not directly affect his business.
As the situation gets consistently worse, a bottle of scotch is introduced into the mix, with hysterical consequence’s. As the two couples drink, allegiances are formed, broken and reformed.
What was initially couple versus couple, the ebb and flow of the group dynamic goes from men against women, to the couples doing a metaphorical ‘do-se-do’ where the couples switch partners.
The alcohol relaxes their inhibitions and brings out the childishness and selfishness inherent in all the ‘adults’
Polanski has lost none of his touch in this brilliantly funny ‘domestic’ comedy. Of course the writer of the original play Yasmina Reza deserves a huge amount of credit for writing such brilliant multi-layered characters.
I will warn you, the first part of the film is a little hard to watch. It is a little like watching a train lumbering forward into a crash and you know that the characters are not going to be able to avoid it.
But hang in there, like a slow building avalanche, the interaction between the four people gets hysterically funny. It’s worth the wait.