Big Eyes

Isolated freedom, revelling in its independence yet struggling with domestic determinants, a husband left behind, another guaranteeing affluence, the domain of patriarchy, one gender controlling, uplifting as it suffocates, a deal is begrudgingly struck, the wife possessing talent, the husband seductive salespersonship, his greed stretching beyond the limits of the financial, his oppression, firm and resolute.

Lies.

Nothing but lies.

Desperate for the prestige yet unable to qualify its conviction.

In terms of actually creating his own texts.

Margaret Keane (Amy Adams) produces them regularly, changing and growing over time, a specific insight blossoming in the bower, dedicated, talented, active.

Walter Keane (Christoph Waltz) sells them as his own.

The critical art versus kitsch continuum actualizes the scene as recognition leads to expansion, as opportunity pluralizes the popular.

Do what you do well I say.

If Margaret had wanted to stay in the background, the situation would have been perfect, a fortune made, the strengths of both partners flourishing, a pool, a house, mutual agreement, not bad, if it's agreed upon beforehand, and artfully managed with subtle praiseworthy comments here and there, in various conversations, socially constructing a contradictory narrative, intriguing in its gentile playfulness, if time changes the nature of the agreement, and credit need be applied where credit's due.

No such agreements.

No such amendments.

Don't freak when the critics don't like you.

There are myriad critics, myriad points of view, myriad methodologies, myriad revelations, extract relevant insights that can help you grow from those who aren't malicious, pretend like it's all nonsense, onwards.

This is where liking sports comes in handy.

In the NFL, you can be one of the greatest players of all time, but you'll still be torn up if you have a bad game, you can't let it get to you, the opposition's fierce, prepare for the next game, let it go, let it go.

Walter turns out to be incorrigible, trying to take all the credit for his wife's work, but she embodies true integrity, leaves the luxury behind, and starts from scratch again.

I liked the film and was impressed that Tim Burton wasn't directing another remake.

I think he still has another Beetlejuice within, I watched it again recently, I love that film.

Like Margaret's work, Big Eyes is accessible and witty, charmingly plucking its heartstrings, multidimensionally navigating cultural tributaries.

Nice to see Jon Polito (Enrico Banducci).

And Mr. Terence Stamp (John Canaday).