Big eyes, rough draft
- 1. Morgan W Sullivan Rough Draft The Significance of Lighting: Big Eyes Far too often the praise and accolades of any given movie are awarded to the actors of the film. To most people the actors bear the brunt of the work, shaping and molding themselves to not only portray a different person, but to take on an identity and present it and the associated life as their own. They speak the lines and emote so that we are drawn in to the story, so that we believe. But what of the negative space? What must happen between those spoken lines in order to further the story and add depth that simply cannot be spoken into existence? This is where cinematography, lighting, and film score come in to play. These are actors in and of themselves, playing their own parts. In this paper I will discuss the role of one of those too often underappreciated players: lighting. The movie Big Eyes, starring Amy Adams and Christophe Waltz, tells the story of Margaret Keane; a painter looking for a fresh start in the late 1950¡¯s who found success but was unable to call it her own. Her husband, Walter, used a cocktail of charm and bullishness to take the credit for her work in the name of greed and self-satisfaction. I could not help but notice the several occurrences in the film that their natures were not only emphasized but captured by keen lighting. The movie begins in 1958 with Margaret¡¯s first divorce. Defying convention of the time, she leaves her home in the middle of the day with her daughter in tow. The sunlight almost creates a haze that brings the background out of focus, softening the image. Despite the
- 2. difficult circumstances, Margaret¡¯s outlook is one of hope as highlighted by bright blue and open skies. Not long after Margaret relocates to California she meets a charming man, Walter. He is a well-traveled artist, is supportive of her ambitions and cares for her daughter. The scenes featuring their developing relationship are light and airy signifying that these are happy times. The light illuminates the beautiful landscape and makes this image appear to be a painting itself. Once settled into married life, Margaret initially appears to be happy. But we find the happiness to be short-lived when Margaret discovers that her husband has taken credit for her art in order to make a sale, with the claimthat ¡°no one wants to buy lady art.¡± It is during this Figure 2: Margaret & Walter paint. Amy Adams, Delaney Raye, and Christoph Waltz. Big Eyes 2014 Figure 1: Margaret leaves herfirst husband. Amy Adams and Delaney Raye, Big Eyes 2014
- 3. time that we see the transition from bright, hazy splashes of color to dim and darker scenes, punctuated with shadows. In this scene we catch the first glimpse of lighting beginning to define the characteristic differences between Margaret and Walter. While in the nightclub that features their artwork, Walter and Margaret are asked who the artist is. We see Margaret frozen by her own doubt and hesitant to respond, while Walter stands in the darkness, almost a shadow. The light seems to illuminate Margaret as the true artist, but in her hesitation Walter steps forward and takes claimof the art. This is not the last time that we see battle lines drawn with the help of lighting. Over the next several years, Margaret spends her time painting art while Walter markets it, and of course takes the credit. The formula is successful, although we can see toll it has taken on Margaret. One day while in the studio, she discovers some of Walter¡¯s first paintings and concludes that he is not the artist he claims to have been. When confronted with the allegations that he has taken credit for another¡¯s art Figure 3: Margaret &Walter stand in hungry i nightclub. Amy Adams and Christoph Waltz. Big Eyes 2014 Figure 4: Walter denies allegations. Christoph Waltz. Big Eyes 2014
- 4. before, Walter¡¯s temper flares and he becomes defensive. We can see in the image above that Walter has back to the light, as if in denial of the truth itself. His lies have come to the surface, represented by the shadow cast on the opposite wall. One of the most striking lighting differences can be witnessed toward the end of the movie. At this time, Margaret has seen Walter for who he truly is, a manipulative bully using her own fear against her in order to procure even more paintings for monetary gain. She finds the courage to leave Walter, relocate to Hawaii and file for divorce. Walter¡¯s greed gets the best of both characters when he demands more paintings and a portion of her proceeds in all her future works. Having finally reached her limit, Margaret decides to publicly announce that she is the true artist and is taken to court, where both parties are required to paint to prove themselves. In the image shown here, we notice more than the ¡°good versus evil¡± them that has dominated the movie. The audience is reminded that life for women was starkly different than of today. Women of that period were expected to be subservient and meek, as hinted by the light flooding over Walter. His side of the court room is bright, while hers is very dim. Although she is the one with right and truth on her side, she is forced to prove it in order to step out of the darkness. Figure 5: Walter and Margaret paint in court. Amy Adams and Christoph Waltz. Big Eyes 2014