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"HIGH FIDELITY" **** out of ***** Review By R.L. Strong Rated R for language and sexual situations. TOUCHSTONE PICTURES PRESENTS A WORKING TITLE FILMS PRODUCTION IN ASSOCIATION WITH DOGSTAR FILMS/ NEW CRIME PRODUCTIONS A STEPHEN FREARS FILM JOHN CUSACK "HIGH FIDELITY" JACK BLACK LISA BONET JOELLE CARTER JOAN CUSACK SARA GILBERT IBEN HJEJLE TODD LOUISO LILI TAYLOR NATASHA GREGSON WAGNER MUSIC BY HOWARD SHORE COSTUME DESIGNER LAURA CUNNINGHAM BAUER FILM EDITING MICK AUDSLEY PRODUCTION DESIGNERS DAVID CHAPMAN THERESE DEPREZ DIRECTOR OF PHOTOGRAPHY SEAMUS McGARVEY,B.S.C. CO-PRODUCERS JOHN CUSACK D.V. DeVINCENTIS STEVE PINK EXECUTIVE PRODUCERS MIKE NEWELL ALAN GREENSPAN LISA CHASIN PRODUCED BY TIM BEVAN RUDD SIMMONS BASED ON THE NOVEL BY NICK HORNBY SCREENPLAY BY D,V, DeVINCENTIS & STEVE PINK & JOHN CUSACK AND SCOTT ROSENBERG DIRECTED BY STEPHEN FREARS
What are the top 5 best films of the year 2000. Well, admittedly its still too early to start calling the shots. But be prepared for this funny and charming little gem from director Stephen Frears, as it already has my attention.
The story if about Rob Gordon (John Cusack), a thirty-something entrepreneur and owner of a small used record store in downtown Chicago. Now, Rob has a problem and that is, Laura (Iben Hjejle) his live in girl friend of several years has moved out. Rob, heartbroken and introspective tries to re-evaluate his love life.
That plot line, in and of itself is pretty nondescript. What makes this film so enjoyably fresh is the marvelous script by Mr.'s DeVincentis, Pink, Cusack, and Rosenberg. John Cusack as Rob Gordon breaks the cinematic third wall, conversing with the audience throughout the film. His self examination is both poignant and revelatory. We are witness to a man, who has been unwilling to face his life, coming to terms with his adolescence and his own immaturity. Rob Gordon is just such a fascinating, human character. And Cusack's performance is one of his best, equaling his turns in 'Grosse Point Blank' and (one of my favorite films) 'Say Anything'.
There are so many surprises in the film, including but not limited to uncredited performances by Tim Robbins (as Ian Raymond) and Catherine Zeta-Jones (as former girlfriend Charlie Nicholson). But performances are wonderfully timed comic turns, with Ms. Zeta-Jones turning a trophy lover into a bittersweet shrew. The rest of the cast is also remarkably good, with special credit to Jack Black (famed co-creator of the fictional acoustic punk group 'Tenacious D'), who turns in one of the funniest characters in recent years. What makes Barry (Jack Black) so funny is that we recognize him immediately. Most of us have had to deal with a retail clerk whose self importance and superiority were insufferable, and Jack Black's performance is hilariously on target in both its accuracy and self depreciation.
Lisa Bonet (as singer Marie DeSalle) is a revelation, both for her performance and her singing (Her performance of "Baby, I Love Your Way" is a revelation). This is a grand surprise and a welcome one. Iben Hjejle as Laura has a soulful and graceful quality that lights up the screen. Her performance is the emotional heart of the film. And as such, gives greater resonance to Rob's acceptance of adulthood and responsibility.
The screenplay by D.V. DeVincentis, Steve Pink, John Cusack and Scott Rosenberg is both knowingly funny and insightful. There is not a wasted line or scene. Every moment of the film brings with it new information to each of the characters and their situations. This may just possibly be the best screenplay of this year. I cannot remember any film recently (save for those by Woody Allen) that treats all of its characters with such aplomb. Not even the most minor of supporting roles is without its truth and honesty. And mention must be made of some of the funniest and wittiest dialogue since 'Grosse Point Blank' (also co-written by Mr.'s DeVincentis, Pink, and Cusack).
Stephan Frears (who's underrated "The Van" rates as one of 1996's best films), has another grand inclusion to his resume here. His direction of the film is marvelously subtle and subversive. Taking the technique of breaking the barrier of the screen from 'Ferris Bueller's Day Off', he reinvents it. Using it to force the audience to identify and sympathize with the character of Rob Gordon. The mise-en-scène, strewn with vinyl records and classic music, ranging from the '13th Floor Elevators' "You're Gonna Miss Me" to a cameo by Bruce Springsteen as an imaginary "pop" psychologist; is wondrous. I only hope that the Academy® has a long memory come nomination time in 2001.
In conclusion, "High Fidelity" is one of the best surprises of the pre-summer season. This is a film that will be laughed at and with. A knowing and thoughtful film that will entertain anyone who's ever been in love and lost. And knows all of the best songs to listen to while they recover.
Owned and Copyright © 2000 R.L. Strong Nothing in this article may be quoted or re-printed without the express written permission of the author.
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