High Fidelity (2000)

Side one. Intro (spoken):

I wish I'd never sold my record collection. And my turntable. Is there anything as beautiful sounding as hearing that needle drop?

Side one. Track one:

John Cusack is the finest example of the post-cinematic, early 21st century, heterosexual male to exist in modern culture right now. He is the perfect man. Strong yet not dominant, smart yet not didactic, attractive yet not modelesque, mature yet childish, assured yet confused madly. He personifies the modern male with perfection. It's really quite amazing.

His films, especially the better ones, have often found him struggling with modern relationships, often searching for a path through the confusing jungle of the female psyche. His (anti)heros in films like "The Sure Thing" and "Say Yes" and now in "High Fidelity" are mirror images of the modern heterosexual male. And we cheer desperately for them to achieve truth and happiness and comfort.

Side one. Track two:

"High Fidelity" is an awesome film. Not necessarily cinematically, not plotwise. But the script is astute and awesome. The characters are perfect. It's one of the most clever, witty, insightful and on-target scripts, filled with hilarious and discerning pop culture references, to be had this side of Tarantino. Here the references to musicians, writers, films and literature of the modern age are handled with subtlety and wiry cunning. Cusack's character, Rob Gordon, consistently pops off "Top 5" lists for everything he thinks. It's a cultural indication of the level of maturity his character has achieved. The film finds character exposition in old records, old TV shows and rock music references. This is the kind of film where the mentioning of "deleted Smith singles" can evoke guffaws and where the band Stiff Little Fingers can represent falling in love. It's great in that way.

But often, what is doesn't have, is a "zinger." It's far too subtle at times, especially in the romantic area, it's supposed main concern. We keep waiting for Cusack's Rob to find a way to include a deep and sweet and irresistible little touch in the film (like lifting up a jambox playing Peter Gabriel's "In Your Eyes" outside his girlfriends house) to win us over, to make us understand that his character is worth caring about and forgiving. He is, after all, a self- centered, egotistical, elitist asshole. That moment, when it comes, is so hidden, so subliminal, that we can almost miss it. Perhaps we are supposed to realize that thrashing our way through the confusing jungle of the male psyche is just as difficult as his search through the feminine wilds. The jungles may be different, but the exploring is just as difficult in either.

This film says more about male/female relationships to the 30-something crowd (circa 2000) than any other film on the planet right now. It's infused with so many (pop) cultural references that people of that age group can identify with that it will speak to them clearly. It's wonderful touches, like Cusack's love of vinyl records and obscure bands, is the kind of thing all of us lost children of the 70's can cleave upon, especially males. But the film is also about the thoughts and feelings of that generation's ideals of romance, love, and marriage. That is the truly lost children it is speaking to. Those of us who have never figured out how to make our way through this mall, lined with the storefronts of hearts and valentines.

Side one. Track three (Track one reprise with variations):

Cusack, of course, is a cinematic God. No question. And he carries this film with ease. It's incredible to hear him speak. Even if he spends 80% of the film narrating, like reading from a book, a wonderful novel by Douglas Coupland orHornby (who in fact wrote the source novel), Cusack makes a character full out of this. What could be often grating, irritating or fakey, comes across as normal in his hands. It's really an awesome feat.

Side one. Track four:

His peers work just as many wonders. Jack Black and Todd Louiso play his alter-egos who also happen to be his employees at his record store. Black is an even bigger irritating asshole. Louiso, meanwhile, can barely string together a sentence. Their circle of friendly give-and-take, with it's bickering, unintelligible moments and perverse love of obscure pop culture influences is nothing short of a wonderland of modern male bonding. In many ways, the two are merely extensions of Cusack's own psyche.

Side two. Track one:

Meanwhile, his "Top 5" females, with whom he has had prior relationships which have "broken up," make their way throughout the film. Lili Taylor, Catherine Zeta-Jones, Natasha Gregson-Wagner and Joelle Carter are really only periphery here, brought forth only to prove a point along the way at times. Sara Gilbert is treated even more poorly, relegated to the sidelines as Louiso's girlfriend. She has about 2 lines of dialogue. It's sad. A tree could have played her part. Likewise, any woman could have played Lisa Bonet's Marie. She becomes an almost after-thought. It seems like much of these storylines could have ended up on the cutting room floor. John's sister Joan, meanwhile, is given a small part to continue on the nepotism tradition between them.

No, the only true female star here is Iben Hjejle (Editor's note: this is not a typo or garbled text) as Laura, Cusack's current girlfriend with whom he is struggling through a break-up. Unfortunately, she is relegated to typical "current-girlfriend who may become ex-girlfriend" territory. She does have moments to shine but they are, like the script, often very, very subdued. This film refuses to have a knock- out moment. Like it's main character, it is far to self- centered. It doesn't really say anything (or, at least, anything nice) about women.

Side two. Track two:

And finally, when the future comes, it comes as children. They are teenagers already before Rob is actually ready for them. He's missed a lot in his own self-indulgent, egotistical world before Chris Rehmann and Ben Carr come into his sphere... and show him tomorrow. And he begins to awaken... It's no surprise when the boys, who have their own band, release their first single and it's called "I Sold My Mother's Wheelchair." Isn't that our deepest fear as young fathers and mothers?

Side two. Track three:

Director Stephen Frears directs the film adequately. There is nothing particularly exciting about it. It's more of a character driven, prop driven piece. I do like the way the film looks. All the sets, or the majority of them, are crumbling, archaic urban dwellings, echoes of the past. This is an theme further explored by the idea of vinyl records as an obsolete past, a dinosaur. All of this solidifies and punctuates Cusack's Rob, and his lack of forward momentum, a key reason for his failing relationship. It's very symbolic and important without ever being overly obvious.

Side two. Track four:

"High Fidelity" is a wonderful film for all of us trying to find our path... through relationships, through life, through the present tense and toward a future... while desperately clinging on to the past, one filled with the comfort and joy of familiarity. The past, the present, the future, each have much to be said for them. Each is important. In the end, Cusack's Rob knows this and understands an appreciates this, as deeply as we ourselves do. As deeply as out mothers and fathers do. As deeply as our children... one day... hopefully will.

Liner Notes:

Cusack worked again with many of the folks who brought forth "Grosse Point Blank."

Tim Robbins also has a small role. He has worked with John and Joan on several of his own films including "Bob Roberts" and "Cradle Will Rock." The two first appeared together in 1985's "The Sure Thing," directed by Rob Reiner.

Bruce Springsteen has an odd cameo in the film.

Filmed on location in Chicago.

Idea for a drinking game: Take a shot every time the cover of Brian Eno's "Before and After Science" is seen. I counted at least 5 but there are probably more.

Soundtrack includes 13th Floor Elevators, Kinks, John Wesley Harding, Velvet Underground, Love, Bob Dylan, Beta Band, Elvis Costello, Smog, Stereolab, Royal Trux, Stevie Wonder, and, yep, Jack Black.

The character was named Rob Fleming in the novel. Writer Hornby flavored it with many Top 5 lists of his own.

Report Card

Script: A-

Acting: A+

Cinematography\Lighting: A

Special Effects\Make Up: A

Music: A+

Final Grade: A-