I didn’t begin to enjoy Steven Soderbergh until the late 90’s when I managed to catch Out of Sight at the local theater. I fell in love with the movie instantly and then he followed it up with more films I enjoyed: the highly underrated crime flick The Limey, the rabble rousing bio-drama Erin Brockovich, and the film that netted him the Oscar for Best Director, Traffic. I had been aware of him before this thanks to his much lauded 1989 film Sex, Lies, and Videotape, which I remember watching as a young teen, finding it very disappointing because there wasn’t nearly enough sex for my hormone riddled mind. Because of that, I missed his next six films, including today’s choice, 1993’s King of the Hill.
Adapted from A.E. Hotchner’s memoir, King of the Hill focuses on Aaron (Jesse Bradford) an intelligent and plucky young man who has to essentially live on his own in a seedy motel during the Depression. His father is a terrible salesman of candles, his mother requires frequent stays at a nearby sanitarium, and his younger brother is sent to live with their uncle. Not much is going young Aaron’s way. He’s constantly hungry and on the run from a crooked policeman and the hotel’s bellboy, whose rotting teeth grin is enough to keep me away from him as well. Likely Aaron would be dead if not for the kindness of strangers, including neighbor Lestor, played by a young Adrian Brody, who consistently finds Aaron odd jobs to keep coins in his pocket, and his teacher Miss Mathy, played by Karen Allen. She recognizes his talents for storytelling, something he utilizes regularly to keep anyone and everyone from realizing his family is poor, and allows him to keep his secrets. When Aaron is given an award from his school, one can’t help but think she played a big part in that. Like many of the coming of age stories you’ll find, this film has it’s ups and downs, but thankfully allows you to have a smile on your face at the end despite how awful the Depression actually was. Not everyone makes it out of the film okay, but you’ll care about nearly every character you’re introduced to.
I likely wouldn’t have guessed this was a Soderbergh film, and was absolutely amazed to learn that this was only his second feature. It’s a lovely film, with solid direction and an engaging story. The cinematography from Elliot Davis and art direction/set design from Bill Rea and Gary Frutkoff are breathtaking at times, to the point where Soderbergh has even described the film as too pretty. The score from Cliff Martinez is time appropriate and lovely. If you’re lucky enough to own the Criterion release it comes with some great special features including another of Soderbergh’s 90’s output, The Underneath.
Highly recommended
Rated 4 out of 5 stars
