Posted: 04/05/2000

High Fidelity

(2000)

by D. Patrick Seitz

High praise for Fidelity.

I first saw High Fidelity as a member of a test audience some months ago, and have been jonesin’ for its release ever since. Having seen it again last Saturday, I’m happy to report that the final cut is even funnier than the prototype, although it was subjected to only minimal revising. By and large, the studio left well enough alone.

The plot of High Fidelity centers on Rob Gordon (John Cusack), a self-confessed audiophile whose flair for understanding women is less than par for the course. After getting dumped by his current girlfriend, Laura (Iben Hjejle), he decides to look up some of his old flames in an attempt to figure out what he keeps doing wrong in his relationships.

He spends his days at his record store, Championship Vinyl, where he holds court over the customers that drift through. Helping Rob in his task of musical elitism are Dick (Todd Louiso) and Barry (Jack Black), the “musical moron twins,” as he refers to them. Armed with an encyclopedic knowledge of all things musical, they compile “top five” lists for every conceivable occasion, openly mock the ignorance of their customers, and—every so often—actually sell a few records. During his off hours, he pines for the lost Laura and does his best to win her back.

Although the script (an adaptation of a Nick Hornby novel of the same name) is certainly nothing to turn up one’s nose at, the cast is primarily to thank for breathing such phenomenal vibrancy into High Fidelity. From the lead roles right down to the cameos (which include the likes of Sarah Gilbert, Lili Taylor, Catherine Zeta Jones, Lisa Bonet, and Joan Cusack), each actor puts their screen time to very good use. If they’re in the shot, they’re doing something to justify their presence.

One could wax rhapsodic about how well John Cusack does in this film, but it should be a given by this point in his career that, unless otherwise stated, he’s going to do a great job. Suffice it to say that his Rob is one of the most realistic protagonists I’ve seen in a while. He seldom makes the right decision, and you have to wince at some of the things he says, but he’s all the more likable for his faults. When all is said and done, his shortcomings making him refreshingly human.

Todd Louiso portrays Dick with a subtle, understated flair, making the socially ingrown man both sincere and hilarious. With his nervous eyes, bald head, and stilted posture, he looks and acts as if he was born to play somebody’s straight-man.

The real stand-out talent in this film, though, is Jack Black as Barry. Barry’s caustic and crass—a nightmarishly frenetic mix of ADD and Turret’s Syndrome—and the funniest character in the film. Armed with a total lack of restraint, he says the things we are usually too tactful to say—the sort of things at which we know we shouldn’t laugh, but just can’t help it.

Tim Robbins gets the award for the film’s best cameo as Ian, a smarmy New Age poseur with a penchant for world music and a decidedly Steven Segal-esque air about him. However, Bruce Springstein’s blink-and-you’ll-miss-it appearance (as himself) is a very close second.

For those of you who are still wondering whether you should see this film, I’ll make it simple for you: If you liked Grosse Pointe Blank, you’ll like High Fidelity. If you didn’t like Gross Pointe Blank, well…um…you’ve got no sense of humor and are fated to die alone and unloved. Don’t worry, though—redemption is still possible. Just say thirty Hail Marys and see High Fidelity until your eyes tear up from laughing. Besides, what else are you going to go see? The Skulls?

D. Patrick Seitz recently put down roots in Los Angeles, where he’s trying his hand at acting, writing, and singing.

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