D.V. DeVincentis, Steve Pink, John Cusack, and
Scott Rosenberg
R
John Cusack, Iben Hjejle, Jack Black, Todd Louiso,
Joan Cusack, Lisa Bonet, and Tim Robbins
When you need a tough guy, call Eastwood. When you
need a violent guy, DeNiro's your man. But if you're looking to
explore the plight of the sensitive white male, go directly to
Hollywood's expert in the field, John Cusack, who has built an
entire career upon it.
From Say Anything to Gross Pointe Blank
and all stops in between, Cusack is the undisputed master of the
modern, misunderstood male. Romantically inclined but troubled
by insecurity, slightly hip but peppered with geekiness, Cusack
is the quintessential nice (and perpetually trod upon) guy. He's
the dream date that women wish they could find, but would probably
stroll right by in a supermarket. He is, in short, the Anti-Hunk.
Cusack's latest film, HIGH FIDELITY, finds him
on familiar territory, as hard-luck guy named Rob who's just been
jilted by his long-term girlfriend, Laura (Iben Hjejle). A former
DJ and owner of an alternative record store specializing in rare
vinyl (note: Extra Hipster Points), Rob takes this moment in his
life to ruminate about his former relationships, including recent
flames (cameos by Catherine Zeta Jones and Lili Taylor) and long-ago
loves...and we mean WAY back, even as far as elementary school.
His record store employees aren't much help either -- Barry (Jack
Black) is too busy throwing unenlightened customers out of the
store, and Dick (Todd Louiso) is rapt in his own burgeoning romance
with Anna (Sara Gilbert). Rob bonds with a nightclub singer, Marie
De Salle (Lisa Bonet) before deciding that Laura is, really and
truly, the love of his life. He sets about trying to win her back
from her more recent boyfriend, the hippie disaster Ian Raymond
(played to perfection by Tim Robbins).
If it sounds like a mess, it is, but fans of Cusack's
milieu won't mind. Based on a popular novel by Nick Hornby, director
Stephen Frears (DANGEROUS LIAISONS, THE GRIFTERS) is in firm control
of the muddy material. Under his steady pacing and fluid style,
the plot never bogs down -- a major accomplishment for a film
that spends most of its time in direct address to the audience.
Cusack, who is also listed as one of the screenwriters, has moved
the setting to Chicago from the original novel's setting of London,
but the material seems to have traveled pretty well. Furthermore,
a number of young actors, Louiso, Hjejle, and especially Black
(who also stole scenes as a ventriloquism student in CRADLE WILL
ROCK), distinguish themselves with imaginative, energetic performances
in well-crafted supporting roles.
Clearly, HIGH FIDELITY isn't trying to be as
deep or meaningful as GHANDHI, or even as meaningful as THE BIG
CHILL (another film about relationships that serves as the very
funny punchline of one of Black's diatribes). Given its lowbrow
aspirations, however, it rides out its less-than-two-hours running
time with a measure of success. There is only the occasional pothole
in the lukewarm screenplay, including pointless diversions for
Rob with people he barely knows (Joan Cusack, hamming it up as
friend Liz, or Bonet, trying to pretend to be infatuated with
Cusack for an evening). There are two odd, Ally McBeal-like
hallucinations as well, one of Bruce Springsteen and another of
imaginative revenge options against Ian, that seem out of place
in what otherwise is a conventional story.
Still, hand it to Cusack...at least he knows what he's
good at. As long as there are women who are looking for the so-flawed-he's-perfect
guy (and as long as there are imperfect guys who want women to
notice them), John Cusack will have a healthy career along the
trail of broken hearts.
