Piccolo, grande Aaron

Not to be confused with that T.V. show thing. King of the Hill is one of the most vivid film experiences I remember as a child. No, I wasn't lucky enough to catch it on the big screen. Instead I rented it and watched it one night and was totally absorbed into it. Jesse Bradford, despite his current film career, did a damn fine job as Aaron Kurlander, a young boy struggling to survive during the Great Depression. He uses his wits and imagination to make the best out of the worst of times. Bradford was 12 or 13 years old at the time he filmed the movie and as an actor it must've been a heavy burden. The main focus is on him as its his story and shown from his point of view. Bradford doesn't let the ball drop once and more than carries his weight. It's another one of those rare great child performances. Jeroen Krabbé plays Aaron's (Bradford) father who is a struggling traveling salesman. Lisa Eichhorn plays his mentally unstable mother who goes in and out of various institutions. Rounding out the cast of the interesting people that fill Aaron's life are Karen Allen as the warm and understanding school teacher, Cameron Boyd his younger brother, Adrien Brody as the "cool" big brother figure, John McConnell as the fat and troublesome patrol cop, Elizabeth McGovern as a prostitute working in the same hotel Aaron lives at, and Spalding Gray as her creepy, manipulative, and suicidal pimp. So yes the film is filled to the brim with worth while supporting players adding so much depth and dimension to Aaron's world.

Soderbergh had double duty as writer and director. He scripted the novel by A.E. Hotchner and I think it's his best film. As I mentioned it takes place during the Great Depression in St. Louis Missouri. Watching Aaron fight for survival is one of the best charms of the film. It's done realistically. The audience is able to believe his methods. There's a nice mix of drama, dark somber humor and dire situations, but there's also enough humanity and hope in the movie to send an uplifting message. For those who enjoy Andy Dufresne's message of hope and persaverence in the more widely known The Shawshank Redemption, seek out this film. I would argue it's even superior to Frank Darabont's movie. It's one of the great and underrated modern films and ranks with the best using the Great Depression setting. Sadly King of the Hill isn't released yet on DVD and it's not very likely that you'll be able to find it at your local video store. Especially if all you have is the local communist Blockbuster near you. Anyway, King of the Hill should be regarded and known far more highly than what it is. It's a sin for a movie this great to not get its due.

Grade: A+

"King of the Hill" is a great film. The acting is brilliant. Jesse Bradford is a stand out and it's one of those performances where you're awed by the fact that someone that young can be such a fantastic actor (like with Haley Joel Osment in "The Sixth Sense" and Eamonn Owens in "The Butcher Boy"). It's also interesting to see Adrien Brody in an early role as I just noticed him a few weeks ago when I saw "Summer of Sam". The film itself is also a very interesting and touching drama. Bravo Soderbergh! (7/10)

A coming-of-age story set in the nadir of the Great Depression, "King Of The Hill" presents a series of episodes as seen by adolescent Aaron Kurlander (Jesse Bradford), whose descent into full-on poverty and seeming abandonment while holed up in a seedy St. Louis hotel doesn't deprive him of his wit or imagination. The more circumstances place him on the narrowest margins of life, the more he bears down.

Summarizing "King Of The Hill" is much less easy than simply enjoying it. Taken from the memoir of A. E. Hotchner, "King Of The Hill" is not so much a single story but a series of vignettes involving Aaron's experiences during the spring and summer of 1933. The pictures are often beautiful, sunlight streaming everywhere without a cloud in the sky, but you always see the sweat on the faces.

As Aaron tells his younger brother Sullivan (Cameron Boyd): "All the important stuff can't be taught. It has to be learned."

For Aaron, this means faking it. A lot. The movie opens with him in a fancy public school where he isn't supposed to be, reading aloud his tale of receiving a phone call from Charles Lindbergh just before the latter's solo flight across the Atlantic. Later, he tells Sullivan how not to get in trouble when filching meals from more advantaged classmates. "I told you a thousand times, you only take food from the fat kids, and you never take a kid's dessert."

All this could be grim material in another director's hands, but Steven Soderbergh applies a delicate touch throughout, aided by the sterling lenswork of Eliot Davis and a beguiling score (by Cliff Martinez and Michael Glenn Williams) mixed with some understated period music.

Everything is understated in "King Of The Hill." There are some rotten characters about, like a bullying cop and a nasty bellhop at the poorly-named Empire Hotel, which is in the process of tossing their many indigent tenants out. But most of the people Aaron meets, even the rich ones, are decent. A well-heeled boy named Billy (Chris Samples) shows Aaron how to make some money breeding canaries, while his teacher (Karen Allen) does what she can to help Aaron despite knowing he lives outside her district.

In the excellent DVD package put out by Criterion, Soderbergh expresses some dissatisfaction with "King Of The Hill," wishing he had made it "grittier." I doubt the film would be such a sleeper for so many had it taken a harder approach. We see Aaron alone in his apartment, in fear of being locked out (his often-absent father owes $172 he can't pay), making due with a meal from pictures of food cut out of a magazine, while outside the streets roar with the din of policemen tearing down a nearby Hooverville. You need the humor and the beauty to cut away from that and give us a window into Aaron's fertile, optimistic mind.

Bradford is brilliant and affecting in the lead role, aided by a colorful supporting cast that includes Spalding Gray as a mysterious, down-on-his-luck man across the hall; Adrien Brody as Aaron's streetwise pal; and Amber Benson as a sickly neighbor named Ella who nurses a crush on Aaron, who tries to be nice but isn't yet interested in such things. Even rap star Lauryn Hill is on hand as an elevator operator, and a pre-teen Katherine Heigl, too, as a well- off classmate whom Aaron tries to impress with stories of his parents being lost on an archaeology expedition.

"They've been lost lots of times," Aaron says, trying to tamp down her responsive anxiety, in a scene that might be more tragic if it wasn't so funny.

There are glimmers of hope in this bleak vision, but even the ending leaves you feeling more unsettled than reassured. There are no easy answers in the world Aaron lives in, just a precious will to endure.

The lack of a central, unifying story makes "King Of The Hill" a challenge to enjoy as thoroughly as one might, and there's sometimes a patness to the way good and bad things happen for Aaron. But overall, "King" is triumphant, and a film that stays with you when it is over.

Beautifully shot and played, this tale of a young boy coping with the depression better than his father (who has left him alone in seek of work) trips along nicely, detailing the superkid's adventures in thirties America in rich colours and lavish period detail. Although it could be accused of overdoing the rose-tinted spectacles, it's a warm and mellow look at a dark and grimy time, and includes enough unpleasantness to keep that fact in the viewer's mind. Although the hotel-dwelling salesman living on the edge of subsistence is not a new theme, any more than that of the capable child flourishing in adversity, Soderberg brings a timeless quality and a steady, gentle mood to this piece, making it more about the hearts of the people than the tragic times which are displayed. Jesse Bradford, as the central child, and Adrien Brody as his older friend, really shine. Nice.

Over the years this little gem of a film has become a personal favourite. I revisit it continuously, I enjoy showing it to someone who never heard of it and it never fails. The emotions are renewed and reinvigorated with each viewing. Jesse Bradford is simply phenomenal and so is Adrian Brody, yes him, "the kissing pianist" in a remarkable early performance. The face of Karen Allen, as the teacher, listening to Jesse Bradford read his tall tale, profoundly aware that she has someone truly special in her class, is so beautiful that goes in an out of my memory bank more often than the names of some of my closest relatives. Spalding Gray and Elizabeth McGovern's characters deserve a full movie of their own. Lisa Eichhorn's tender fear of having to leave her children behind is just another of the ravishing notes of this stunning film. If you haven't seen it. Give yourself the pleasure. You are going to love every little bit of it.