Sad
Eyed Children, Big Eyed Art, Doe Eyed Orphans or Sorrowful, wide-eyed
waifs, whatever name you used to describe them, there's one thing for
sure, with no grey areas, you either loved them or you hated them.
Artist Margaret Keane was born in 1927, by the 60's she was a pop art
sensation. Margaret was married to Walter Keane for ten years, from 1955
to 1965. A film about her life is being made called "BIG EYES". Tim
Burton, a fan of Margaret's work, will co-produce the film. Early
rumours had Ryan Reynolds and Reese Witherspoon in the staring rolls.
The latest to be put up for the lead roles are Christoph Waltz and Amy
Adams.
The script was penned by Larry Karaszewski and Scott Alexander and Tim
Burton will direct the movie said to be released in August 2014.
The film will start just before Margaret and Walter meet up, and ends in
a spectacular court scene where Margaret gets her day in court.
Margaret now lives in Napa County, California.
Personally I can't wait until the film comes out. Now I have to go and
find all those paintings my sister had hanging up on her
anaglypta-wallpapered bedroom walls in the seventies, as they should
skyrocket in price after the film.
At
the beginning of the script the year is 1955 and Margaret with her
eight-year old daughter Jane, leaves her first husband, and lands in the
wild and cool beatnik epicenter of San Francisco. The place is foreign
and strange, yet she gets a sense that this would be a great place to
settle as an artist.
Margaret runs into Walter Keane whilst sketching tourists for a few
dollars at Fisherman's Wharf. Walter made an impression on her dressed
like a Parisian Artist in a turtle neck and black beret flogging his
Paris street scenes with the gusto of a fairground sideshow boss. As
soon as Walter meets Margaret he foreshadows his future actions by
criticizing her for selling herself and her artwork too short.
It's not long before they pitch their easels next to each other in the
park and start a courtship. Jane, Margaret's daughter notices that
Walter's canvas is always blank. We learn that Walter is really a
commercial realtor. They soon get married and honeymoon in Hawaii. in
this script version, they decide not to delve in length into the reason
why they get married so hastily, just a letter from Margaret's
ex-husband accusing her of being an unfit mother.
Walter's artwork is shunned by a Gallery owner which motivates him to
rent wall-space in the hungry I, a hugely popular and hip jazz club, and
he exhibits his and wife Margaret's work. At this time they both sign
their works as Keane and Walter is soon credited with the
sad-eyed-girls, hungry for sales he takes credit for the works. The Jazz
club is further instrumental in their success when the club owner and
Walter come to blows and are caught on camera; this catapults both the
club and the paintings to overnight popularity and Walter deeper and
deeper into his lie, a lie that eventually becomes real to him.
The paintings start shifting even though art critics snubbed them, one
critic suggested they were "the very definition of tasteless hack work".
The layman loved them, and Walter found they had to start printing off
posters and framed prints to keep up with demand.
There's not doubt Walter had a flair for marketing, he opens up a
gallery across from the first gallery that shunned him and started
giving paintings away to famous and influential people including,
Natalie wood, Jerry Lewis and Kim Novak also sending one of John Jr. and
Caroline Kennedy to the White House.
Walter Keane churned out work, sausage factory style, well before Warhol
and his helpers. Walter's sweat shop consisted of Margaret only, whilst
she grafted he wallowed in his self-promotion, and the secret was kept
even from Margaret's daughter.
Margaret becomes more and more depressed, which reflects in her artwork,
almost self-portraits, which makes it more difficult for Walter to
explain his inspiration.
The script heads towards the climax, where Margaret gets her day in
court after remaining silent for years. A radio interview in 1970
prompted Margaret to admit she and she alone painted the wide-eyed
waifs, and at this time challenged Walter to a public painting contest,
Walter was a no show.
A couple of years go by and Walter surfaces suggesting to USA Today that
Margaret thought that he was dead and that's why she was making her
claims. This led to a slander suit from Margaret.
When they both walked into the Honolulu federal court, 20 years had
passed since either one had seen each other. Walter was 70 and Margaret
58, the whole trial lasted for 3½-week with plenty of sparks. According
to Margaret the only reason she was obsequies and gave into Walter's
wishes was because she feared for her and her daughter's lives.
Margaret brought into court paintings from her childhood, and clinched
it when she painted a boy's face in fifty three minutes, showing
obviously that she is in fact the creator of Big Eyes. Walter was
challenged to pick up a paint brush but declined clutching his should,
saying he was taking medication and declined the challenge. The court
awarded Margaret $4 million for damaged reputation and emotional
distress at the hand of Walter's false statements.
At the end of the Script a reporter asks Margaret if she feels
vindicated by the high award, she replies that it was never about the
money and anyway she doesn't think that Walter would pay up. Margaret
adds that she just wanted rightful credit for her work and to get her
art back, my prayers are answered.
This was an early draft of the script and there will be many changes to the finished film.
The eyes were asking
'Why are we here, why is there suffering? What is the purpose of life?'
''I think what Keane has done is just terrific. It has to be good. If it
were bad, so many people wouldn't like it.'' -- Andy Warhol on Keane in
1965