Film - My Kid Could Paint That

After viewing "Who the $%#! is Jackson Pollack," I remembered hearing about another art-based documentary "My Kid Could Paint That."  So I moved this movie up my queue and checked it out. The movies are similar in many ways.  They both explore the world of modern, abstract art, and they both conclude with unanswered questions, leaving the audience to make their own judgments.  However, where "Who the $%#!..." made me smile even when I was frustrated, "My Kid..." made me sad.  To hear a brief summary and more of my thoughts, click "Read More."

"My Kid Could Paint That" starts almost as a laugh about the world of Modern Art.  Surely we have all seen a painting in a gallery where we thought, "Holy heck, it's a yellow rectangle on a red background!  Anyone could do this!"  Well here was a three-year-old (seen mostly in the film at age four) who was painting elaborate, colorful, and yes, masterful works of art that were selling for tens of thousands of dollars once brought to the attention of a local gallery owner.   We delve into a debate about the true value of these pieces: are people buying the art for its intrinsic value?  Or are they buying into the gimmick of a toddler receiving international praise for finger-painting?  Pollack was also criticized in such a manner.  Were people buying his art or were they buying a piece of the troubled celebrity?  

Surely Marla's paintings showcase nice color combinations, as well as great diversity in texture and smart compositions.  The documentary wants to move towards the exploration of a prodigy, but it hits a road block: the parents are reluctant to have Marla be videotaped while painting. How can we study this girl's genius when we are never allowed to see her work?  The documentarian tries once to film Marla as she paints, but she seems lost and creates a muddy mess on her canvas.  Her father gets upset and claims she "always does this when the cameras are rolling," referring to other failed attempts at having her painting documented by film crews from various news operations.   

Eventually the movie can't help itself but become an expose.  Is Marla really the one painting these pieces that are selling for tens of thousands of dollars?  The documentarian, Amir Bar-Lev, hates to pose the question, as he has let himself become incredibly attached to this family. Once Marla's parents discover that Amir is debating their honesty, the trust is broken and the documentary-experience ends.   The true nature of Marla's talent remains a mystery.  

As one journalist points-out during the piece, this is more a story about adults than a child.   Can Marla's parents be trusted? You'll have to draw your own conclusion.