Big Eyes 2014

In 1958, Margaret (Amy Adams) leaves behind the constraints of her marriage to forge a new path with her young daughter Jane (Delaney Raye) in North Beach, San Francisco. As she navigates this uncertain terrain, Margaret finds solace in her artistic pursuits, taking on a job at a furniture factory where she brings illustrations to life. It is here that she meets Dee-Ann (Krysten Ritter), a kindred spirit who helps Margaret settle into her new surroundings.

Margaret’s creative expression finds an outlet at an outdoor art show, where she captivates passersby with her live portraits. It is amidst this vibrant backdrop that she crosses paths with Walter Keane (Christoph Waltz), a charismatic figure selling his own Parisian-inspired paintings. Walter’s words of wisdom resonate deeply with Margaret: “Don’t sell your work so cheaply.” As they continue to cross paths, Margaret finds herself drawn to Walter’s charms and the promise he holds for her artistic future.

As their relationship blossoms, Walter becomes an integral part of Jane’s life, treating her like a princess as they make plans for a trip to France. Margaret is swept up in Walter’s romantic notions, which seem to be fueled by his own experiences studying art in the City of Light. Her signature style - portraits of girls with big, expressive eyes, all signed “KEANE” - gains newfound attention as Walter becomes her partner in both art and life.

However, just as it seems that Margaret has finally found a sense of stability, her ex-husband sends a court notice seeking custody of Jane. In the midst of this turmoil, Walter proposes, and they embark on a new chapter together.

As their artistic partnership takes shape, Walter sets out to secure a platform for their work by approaching Reuben (Jason Schwartzman), the owner of a prestigious art gallery. However, Reuben remains unmoved by Walter’s offerings, refusing to display their pieces within his esteemed walls.

Undeterred, Walter turns his attention to the city’s vibrant jazz scene, seeking to showcase their art at Enrico Banducci’s (Jon Polito) popular club. While Banducci agrees to rent out wall space, Walter’s temper gets the better of him, and he becomes embroiled in a heated altercation with the club owner.

The ensuing controversy proves to be a publicity bonanza for the couple, as curious onlookers flock to see the paintings that sparked the fight. Dick Nolan (Danny Huston), a celebrity gossip columnist who serves as our narrative guide, takes particular interest in Margaret’s art - particularly her portraits of young girls with big eyes.

As Walter and Margaret bask in the glow of their newfound fame, Walter reveals the staggering sums they’ve earned from their art sales. With his characteristic charm, he convinces Margaret that she can focus on painting while he handles the business side of things, cementing their partnership as a force to be reckoned with.

As Walter (actor name) opens his own gallery, flaunting the artistic creations as his own masterpieces, a cunning plan begins to unfold. The family relocates to an opulent mansion, where Walter spends his days mingling with celebrities while Margaret (actor name) remains confined at home, her sense of isolation growing with each passing day. To further deceive Jane (Madeleine Arthur), Walter insists that he is the true mastermind behind the paintings.

Margaret’s frustration reaches a boiling point as she witnesses Walter taking credit for her work and lying about his artistic prowess. Seeking creative freedom, Margaret decides to adopt a distinct style in her own paintings, characterized by elongated features and diminutive eyes. This deliberate shift in artistic direction allows her to proudly claim authorship of her pieces.

While rummaging through an old crate, Margaret discovers a cache of Parisian street scenes, all bearing the signature “S. CENIC”. Her realization that she has never actually witnessed Walter creating art sends shockwaves through her psyche. Unbeknownst to Margaret, Walter has been falsifying his own artistic endeavors by painting over the original artist’s signatures and passing off the works as his own.

The tension between Margaret and Walter escalates as she confronts him about his deceit. In a confessional moment, Walter reveals that he has always yearned to be an artist but lacked the talent. Disillusioned and disheartened, Margaret hints at losing interest in perpetuating the ruse, prompting Walter to make a chilling threat.

As Walter becomes increasingly desperate for artistic success, he demands that Margaret create something worthy of display at the New York World’s Fair. Meanwhile, Jane discovers her mother working on the iconic painting “Tomorrow Forever” and reveals to Margaret that she has long suspected her to be the true creative force behind their shared artistic endeavors.

At a lavish party, Walter becomes incensed upon reading John Canaday’s (Terence Stamp) scathing review of their World’s Fair exhibit. This sparks an explosive confrontation between the two art critics. Later, at home, Walter’s frustration boils over as he drunkenly blames Margaret for the failure of their artistic endeavors and resorts to violence.

As Margaret and Jane flee from harm, locking themselves in the studio to escape Walter’s wrath, they find themselves trapped with no easy escape route. In a desperate attempt to protect themselves, they watch as Walter continues to hurl lit matches through the studio’s keyhole, threatening to engulf their home in flames. Ultimately, they manage to escape and make a daring getaway by car.

One year later, Margaret and Jane have found solace in Honolulu, Hawaii. Walter demands that Margaret surrender her creative rights and produce 100 additional paintings before he will consider granting them a divorce. Despite the hardships, Margaret agrees to these terms and continues to send her artistic creations to California. The seeds of redemption are sown when two Jehovah’s Witnesses visit Margaret, planting the idea that honesty is essential for personal growth and fulfillment.

As Walter receives the subsequent paintings, they bear a striking signature: “MDH Keane”. This revelation sparks a media frenzy when Margaret confesses her true identity as the artistic mastermind behind the works attributed to Walter on a popular Hawaiian radio show. The news sends shockwaves nationwide, captivating audiences and leaving many wondering how this enigmatic artist managed to keep her creative genius hidden for so long.

Dick Nolan, ever the provocateur, seizes upon this newfound notoriety to further tarnish Margaret’s reputation by printing scathing articles claiming she has succumbed to madness. Enraged by these baseless attacks, Margaret files lawsuits against Walter and the newspapers that perpetuated his lies, alleging libel and slander.

The trial unfolds in a Honolulu courtroom, with reporters swarming the area like vultures circling prey. The court swiftly dismisses the libel claims against the newspapers, but Walter, sans counsel, chooses to defend himself against Margaret’s slander allegations. In an unexpected twist, he takes on the role of witness, posing questions to himself as if seeking answers from his own conscience.

As the proceedings come to a head, Judge James Saito (James Saito) orders both Margaret and Walter to create a painting within the confines of one hour as proof of their artistic prowess. Margaret works tirelessly, her brush strokes confident and deliberate, while Walter hesitates, claiming his arm is too inflamed to wield a paintbrush. In a stunning upset, Margaret completes her masterpiece, securing victory in the lawsuit.

Outside the courthouse, a humbled Margaret reveals she has no appetite for financial gain, but rather seeks recognition for her artistic endeavors. A devoted fan approaches her, requesting an autograph on a copy of “Tomorrow’s Masters”, and Margaret obliges, finally signing her own work.

Though Walter stubbornly maintains his claims to be the true artist until his passing, he never again lifts a paintbrush, leaving him to live out his final days in poverty. Margaret, meanwhile, eventually returns to San Francisco, where she opens a new gallery and continues to create art with unwavering dedication, her brush still dancing across canvases every day.