Immediately after watching a movie by rule-breaker iPhone-cinematographer Soderbergh, roughly his 30th feature, it was fun to catch up with his third, a period piece with relatively subdued editing and energy. The movies would seem to have nothing in common, except that I’d just read David Ehrlich’s review of High Flying Bird, saying that Soderbergh is “drawn to stories about people who try to steal back a measure of self-worth,” and that connects. So now I’ve seen all of his movies except Side Effects, and I guess Mosaic.

Our boy is Aaron, abandoned by both parents due to work and illness, he and his little brother attempt to live in a hotel room in Depression-era St. Louis with no food or income for as long as possible. He tries breeding canaries, dances with an epileptic neighbor, sees the arrest of Adrien Brody and suicide (!) of Spalding Gray while avoiding cops and death himself, and finally escapes the hotel when his travelling salesman father returns.

Gray and Elizabeth McGovern:

Aaron with Lauryn Hill:

First time I’ve seen this in a while, watched in lovely HD.

I think Ben Chaplin (Bell) was the only major Thin Red Line actor to return in The New World, but I never recognize him when I watch it. He’s the thick-browed guy with traitorous wife Miranda Otto (later Tom Cruise’s wife in War of the Worlds).

Blu-ray outtakes: Witt gets berated by John C. Reilly. “Made a mistake getting in this discussion.” Don Harvey gets berated by Paul Gleeson. After Danny Hoch gripes about Lt. Gleeson, Pvt. Larry Romano drunkenly confronts his superior. Private Nick Stahl freaks out after bayoneting an enemy. Bizarre conversation between Witt and sniper Mickey Rourke. Taking Japanese prisoners, one can’t walk. Bell brings his divorce letter to Clooney, who makes good on his earlier comment that he’ll always be available for questions. And a doctor sends Adrian Brody home for his leg injury after Witt dies.

The on-disc interviews are fascinating. It feels strange, though – the actors speak of the movie as Malick’s personal vision, so it’s all Terry this and Terry that, and the absence of his own perspective in the extras makes it seem like reminiscences of a dead artist. Of course it’s understandable that he doesn’t want to participate, that’s just the impression I got. After actors there’s editing, source novel/author, and music (Hans Zimmer says Terry wanted the music to ask questions, not answer them).