New York Times senior art critic Michael Kimmelman offers sharp insights when he mentions how Marla's painting reflects not just 'innocence' and what our psyches project into them, but also 'the cynicism of the art world.'
My Kid Could Paint That (2007)
Tomatometer
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Reviews Counted:21
Fresh:20
Rotten:1
Average Rating:7.6/10
Consensus: Director Amir Bar-Lev grapples with exposing the authenticity of four-year-old Marla's paintings at the sake of burdening her publicly shamed family to transfixing results.
Theatrical Release:2007
Synopsis: In this fascinating documentary, filmmaker Amir Bar-Lev chronicles the rise and fall of child artist Marla Olmstead, the daughter of a dental hygienist and factory worker from upstate New York.... In this fascinating documentary, filmmaker Amir Bar-Lev chronicles the rise and fall of child artist Marla Olmstead, the daughter of a dental hygienist and factory worker from upstate New York. Marla was all of four years old when she sold her first abstract painting. When the New York Times published a piece about her prodigious talent, she became an overnight media sensation, and her paintings quickly began to sell for up to five figures. While many lauded her amazing ability--and even likened her to Picasso--her success also sparked heated debates about the true value of abstract art. Bar-Lev begins to explore this idea, as well as our culture's fascination with child prodigies, when the film suddenly takes a sharp and unexpected turn. The impetus is a piece on 60 MINUTES in which Charlie Rose suggests that Marla may not in fact be the sole creator of her work, and that her father--himself an amateur painter--is really the mastermind. The Olmsteads are stunned by the implication, and Marla quickly falls from grace with the art world. What follows is an unsettling but nonetheless riveting examination of Marla's family. Bar-Lev suddenly finds himself in a bit of an ethical conundrum: while he would like to get at the truth for the sake of the film, he is hesitant to cause further trouble for the Olmsteads, who have granted him intimate access to their lives. He ultimately leaves it up to viewers to decide what really happened--though for many, there will likely be little doubt as to the authenticity of Marla's work. As a documentary, the film works beautifully, raising a lot of big questions about truth in art, and even about the exploitive nature of documentary film. All this because of a four-year-old girl and her paint set. [More]
Director: Amir Bar-Lev
Director: Amir Bar-Lev
Producer: Amir Bar-Lev
Composer: Rondo Brothers
Studio: Sony Pictures Classics
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Reviews for My Kid Could Paint That
More than a standard child prodigy profile, My Kid Could Paint That turns into a priceless examination of modern art, celebrity and what it means to be a kid.
The self-reflexive narrative is particularly fascinating because Marla's story is so critical to selling her art; everyone involved, the filmmaker included, has a vested interest in proving it genuine or fake.
It's a thought-provoking look at the world of abstract art, the relationship between a reporter and his/her subject, and the nature of parenting, prodigies, and "objective" storytelling.
Documentarian Amir Bar-Lev began making a film about whether Modern art is a scam and whether a 4-year-old painter from Binghampton, N.Y., might not be as good as Picasso. But Bar-Lev ended making a film instead about whether the 4-year-old is a scam.
The truth lurking beneath My Kid Could Paint That is that your kid couldn't paint that.
I’ve seen the film twice. It is a wonder, marked by a sense of wondrous skepticism that has nothing to do with cynicism.
Bar-Lev goes to the heart of the issue -- that all art, but especially abstract art -- demands commitment on every side, but commitment takes many forms and has many motives behind it.
For parents, My Kid Could Paint That functions as a mirror, prompting us to wonder at what point we should draw the line and close the door. When the national media camp out in our living rooms? When the kid's college account is full?
The opportunities for a satirical comedy are largely missed by filmmaker Amir Bar-Lev, who does a lot of first-person hand-wringing about his methods. That is both a distraction and an indication that he got a little too close to his subjects.
Amir Bar-Lev began this documentary as a fairly straightforward portrait of a prodigy. What he ended up with was a complex examination of art, the media and the nature of fame.
The longer it goes, the more frustrating it becomes, as [director] Bar Lev declines to come down on one side or the other. It makes his presence in the Olmsteads' lives serve no real purpose other than exploitation of their misery for his own good.
[A] mysterious, gripping meta-documentary, a movie that reflects upon the thorny, unpredictable process of capturing a real-life story on film at the same time it's trying to figure out what the story is.
Amir Bar-Lev's engrossing film is as much about the stubborn ambiguities of art, truth, meaning, and relationships as it is about the authenticity of the Olmstead oeuvre.
What begins as a sweet documentary about yet another art prodigy becomes an absorbing look at the world of art scandals, trial by media and the parental role in the frenzied creation and perpetuation of a phenomenon.
Latest News for My Kid Could Paint That
March 03, 2008:
RT on DVD: Into the Wild, Things We Lost In The Fire, My Kid Could Paint That Arrive
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October 04, 2007:
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August 04, 2007:
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January 22, 2007:
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The deal floodgates opened today, with studios picking up "Clubland," "My Kid Could Paint That," "Waitress," "In the Shadow of the Moon,"... More...
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