Based on the true story of artist Margaret Keane and feeling immediately like a Tim Burton film full of oddities and delights, Amy Adams stars as Keane, one day taking her daughter to San Francisco to begin a new life. She plans to have her daughter and her ‘unknown’ paintings (orphaned-looking children with big sad eyes) together…the two things she cherishes most.
Instead she meets Walter Keane (Christopher Waltz) at an art fair. Their booths are set up next to each other, and he paints anemic and repetitive Parisian street scenes, confiding in Margaret that he wished he was more than a “Sunday painter” but he’s a realtor by trade, who also wishes to make money on art.
Soon Margaret’s ex husband wants custody of her child. Walter sees the opportunity to immediately marry Margaret (and her talent) and keep her safe and sound. But we all know women should never depend on being rescued….
Margaret’s BFF, DeeAnn (Krystyn Ritter) warns her of Walter’s womanizing ways, but it may be too late, as he’s sabotaged her life and convinced her to keep quiet, by letting him tell the world that he’s actually the artist. It all begins at the Keane Gallery in 1960 ‘opening her husband’s show.’ The weird part is anyone of this generation would know it can’t possibly be a man painting kittens and children without being a pedophile, but on the same note, and back in the day, women were told to honor their husbands and be subservient etc.
Soon Margaret becomes confused, sad, lost, looking much like the very paintings she creates. But when the New York Times critic calls Walter’s work ‘grotesque’ – as art should elevate not pander – Margaret musters the strength to go public with her truth.
The movie seems small for Academy season but only a director like Burton could make it larger than life and larger than the eyes of the portraits. The estate was worth seventeen million back then but one can’t put a price tag on Christopher Waltz’s split personality Oscar-worthy performance. Adams is pretty darn good, too. ♕ ♚ ♛