Championship Records

High Fidelity
(Stephen Frears, 2000)

5 Stars

Some might say it’s a little unfair to attempt an impartial review of one of my favourite films, based on one of the few books that I’ve read more than twice, but you know what? It’s my blog, and I’ll do what I ruddy like.

Stephen Frears’ tale of love, loss and lyrics, High Fidelity, based on Nick Hornby’s book of the same name, is a eulogy to the modern man. Not the macho, not the successful, but to the downtrodden, the romantic, and most importantly, the Everyman.

In his books, Hornby continuously creates heroes with which the reader can identify with within moments of entering the world of the story. And none so more than the hopeless Rob of High Fidelity. His first person narrative, captured beautifully in the movie’s script, perfectly embodies the neuroses and self-deprecation that, for this writer at least, fill every waking hour of every day. John Cusack’s (Con Air, Serendipity) tender and yet wired performance as Rob gives us a real hero of the modern age, and is perhaps the finest role of his career so far.

And what is a man without his friends? Jack Black (Tenacious D, The School of Rock, etc) as petulant pedant Barry (the part that both made and stole his career) is perfectly cast, and reading the book now, one can only imagine Black in the role, especially in his show-stopping performance of Marvin Gaye’s “Let’s Get it On”. The oft forgotten Todd Louiso as shy music geek Dick is wonderful, relishing in his introvert nerdiness, reminiscent of the great (and also oft forgotten) Tom Lenk.

Supporting actors not to be forgotten, however, with Iben Hjejle putting in a strong show as Rob’s on/off girlfriend Laura, and Lisa Bonet giving a soul-wrenching rendition of Peter (fucking) Frampton’s “Baby I Love Your Way” as the gorgeous musician and muse Marie de Salle. Tim Robbins as the greasy Ian is a hilarious addition to proceedings. The award however, simply must to go to Mr. Bruce Springsteen for possibly the greatest movie cameo of all time. The use of the 1980 track “The River” (although in the book, Hornby does specify “Thunder Road”…) is also beautiful. Thanks Boss.

Frears and his team, despite moving the tale to America (which strangely works; thus proving the universal nature of Hornby’s material), manage to capture the very essence of the novel; fast paced, neurotic, and ultimately heart-breaking. High Fidelity is a movie about music, about ambition, about love, and, more than anything, about soul.