i am feathermaye...

I am the first to admit that I'm not much interested in documentaries. More times than not, I turn to films for the entertainment value, typically with a specific need: A need to be scared; a need to be reminded of a particular lesson in life; a need to laugh; or a need to cry.

I am pleased (albeit surprised) to say that Amir Bar-Lev's documentary film "My Kid Could Paint That" fulfilled all of those same needs, and more!

"My Kid Could Paint That" is a study of then 4-year old modern artist Marla Olmstead. Marla was taking the art world by storm with her stunning works of art on canvases that are bigger than she is! Her bold use of color, surprising depth and obvious ignorance of the world of modern art has captured her an audience of thousands, all over the world. By the time she was 4 years old she had earned over $300,000 and had a waiting list of over 200 patrons.


Within moments of the film's opening both Scott and I were so strongly moved by this child and her art that we were overtly emotional. Tears streamed down my face as I met little Marla and was introduced to some of her better known pieces. There's no way you can look at what she does, recognize that she is only four years old, and not be affected.

The first half of the film is intended to allow you to fall in love with Marla, with her little brother Zane and with their young parents who are just as surprised by Marla's talent as the rest of us. It's almost painful to watch them attempt to grow accustomed to the attention garnered by Marla. Mom is obviously affected by the media and film crews and the like; Dad is affected as well, but he seems to be getting the biggest thrill out of it all. (Dad attempted a career as a painter earlier in his life, without success.)



Marla is shy with the camera and tends to turn the tables on director Amir Bar-Lev, asking him questions and soliciting his help (drawing him out from behind the camera, where he prefers to be) in dealing with little Zane and a water hose.

About mid-way through the film, just about the time you've convinced yourself that you can see God's face in this child and her work, scandal is introduced. Charlie Rose did a piece on 60 minutes with a 'renowned Child Psychologist' who basically defamed Marla and her talent, and boldly accused mom and dad of 'polishing' a 4 year old's work and passing it off as her own.


The behind-the-scenes special features, combined with the powerful film, first lead us down the Path of the Believers, only to later tell us we missed some of the obvious landmarks along the way. It then asks us how we could have missed them? How could we truly believe that a 4 year old could be this accomplished without a little outside help?

Mom and Dad Olmstead didn't help matters much in the face of the scandal. They allowed a stationary (hidden) camera to be installed directly over Marla's workspace so that she could be recorded creating one of her pieces from beginning to end. The result of this experiment was a canvas obviously painted by a child, and not at all unlike the artwork hanging in numerous pre-schools and on thousands of refrigerators everywhere.

Interestingly though, Mom and Dad also produced 4 or 5 impressive works supposedly created by Marla during this same time frame, but off-camera. "When she is most comfortable," they stressed.

By the end of the film, Amir Bar-Lev leaves the decision up to you, the viewer. He never comes right out and says that he doesn't believe in Marla, although he's also hesitant to say that he does believe what her parents are claiming. Situations are obviously strained between Mom and Dad Olmstead, based on their body language toward each other throughout most of the film, and you're even left to wonder if Mom knows the whole truth.


I came away without a solid opinion of my own, regardless of how much I enjoyed the film. I would really like to believe that Marla is the artistic soul she was portrayed to be in the first part of the film, but the doubts planted by Charlie Rose and by Amir Bar-Lev's wavering faith have tainted my view.

Scott, on the other hand, felt very differently. So differently, in fact, that I felt it necessary to interview him when it was over.

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feathermaye: Hi, Scott.

Scott: Hi honey.

feathermaye: Ummm, for the purposes of this interview, would you not call me honey? It's not very professional.

Scott: Okay, sure. Hi feathermaye.

feathermaye: Thanks, hon--... I mean, Scott. Anyway, I understand you've just finished watching Amir Bar-Lev's "My Kid Could Paint That". Did you enjoy the film?

Scott: I did. I wasn't sure what it was about, and I always enjoy starting a film without knowing where it's supposed to be taking me. This one was very enjoyable, both in its educational qualities and as pure entertainment.

feathermaye: What did you enjoy the most?

Scott: That's a tie between Marla and Marla's art. Both were very refreshing, very real. And Marla's little brother Zane and his attempts to steal the scenes were great, too.

feathermaye: In regards to Marla's art... Do you think Marla actually painted all those pieces, as her parents claim?

Scott: Yeah, I do.

feathermaye: Do you think Mark [Marla's father] "polished" some or all of those paintings for her, as alleged by some of the critics and the media?

Scott: No, I don't. During the film we were shown some of Mark's paintings, and they were really bad. Marla's work has balance and depth and symmetry, wherein Mark's stuff was flat and one- dimensional.

feathermaye: Do you think he had anything to do with Marla's work? Either in directing her or guiding her on the development of any of her pieces?

Scott: Well, sure. I mean, he's her coach, right? Even the best of us--athletes, artists, writers, parents, teachers--we all need coaches, or mentors. Someone to help lead us to what we don't yet know or understand. Someone to point us in the right direction initially, so that we'll know what the right direction is. Fortunately for Marla, her dad knows enough about art (and has plentiful resources for what he doesn't know) to be able to help her develop her skill while nurturing her talent.

feathermaye: What do you think the future holds for Marla Olmstead and her work?

Scott: I think that Marla will continue to evolve as an artist. I think the initial steps that she's been allowed to take so early in her life will have prepared her for the attention and (often times) pressure that accompany her level of talent. Being eased into that sort of life is much more preferable than having it thrust upon you, as her parents quickly discovered.

feathermaye: Thank you, Scott, for your candid responses and insights into "My Kid Could Paint That".

Scott: You're most welcome, feathermaye. Is there anything else I can do for you tonight?

feathermaye: Why don't you take out the trash and then we'll talk...
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