I don't deny that there are problems with this film. There is no distinct or visionary direction, there seems to be rain at convenient moments throughout the film, there are small errors in the plot, involving certain people's names. Sure I may have criticized other films for similar problems, but there is something about this film that transcends that. It goes above the simplistic notions of good and bad. It is a film I genuinely love. That is something you cannot rate.Based on my favourite novel ever (note: not the best written, that goes to The Road by Cormac McCarthy), High Fidelity by Nick Hornby, this film is one of few adaptations that can reach the heights of the source material. Although the setting has been changed from London to Chicago, British terms translated to Americanized versions (with the notable exception of "sad bastard"), the film retains what is at heart, at the very core of its creative essence: music and love.
First up music. Well, seeing as the plot revolves around a record-store owner and his failed relationships, there must be music, talk of the laws of the mixtape, snobbish and yet delightful commentary from the employees of Championship Vinyl. I love music. I am a music tragic. So much so that I always become more attentive when John Cusack utters the line "deleted Smiths singles". The conversations of music, the breadth of knowledge and depth of bands referenced, whether directly or in the background (yes OK Computer-era Radiohead poster) is always a stimulating aspect of this film. It is self-assured in its taste of music, ranging from The Beta Band to Marvin Gaye, the epitome of Rob's relationship with Laura embodied in the soul of 'Let's Get It On'. The scenes in the record shop are absolutely brilliant and, in a way sadly, sort of reflect my line of thinking. We have Barry, and obnoxious, imposing music fan who disregards Belle and Sebastian and barges into the store Monday afternoon to crank out 'Walking On Sunshine'. On the other hand, we have Dick, the excessively shy and musically knowledgeable introvert. Todd Lousio is absolute perfect casting for this role. His subtlety carries the character and from that so much humour is derived. An example of a lack of subtlety resulting in positive outcomes is Jack Black as Barry. That was also perfect casting. No one else could fill the shoes of that character. He is the prelude to all other Jack Black characters involving music (School of Rock, Tenacious D) and the best of the lot. And the Top 5 lists are amazing. Check those out, whether it be side one/track ones or whether it be songs about death, look them up.
So, with music covered, next is love. Where music acts as the refreshing side of the film, something that remains in the back of your mind, leaving you humming The Velvet Underground, love is what pushes the story forward. It is a tale of re-assessment. Our noble record store owner has been dumped, plain and simple. He has been left by his successful girlfirend Laura because he hasn't "changed". Now that through the filters of love or the absence of love has some interesting consequences, namingly contacting your top 5 break-ups and trying to find out where you went wrong. The novel starts with a prelude involving a detailed description of the worst 5 break-ups Rob has faced, starting with the 6hr coupling of him and Alison Ashworth in Junior High and eventually leading to the present. The film integrates these little moments to great effect. We see Rob's work, we meet the characters of our story and integrated within it are these moments, these reflections that shape Rob as a character and in essence, make him more relatable. And when he goes out of his way to find these lost loves we are taken along for the ride. It's love that forces Rob to re-evaluate and through a series of the best stream of consciousness I have seen on film (with the exception of The Weather Man's infamous "tartar sauce" scene). By talking directly to the audience, Rob's emotions, however wrapped and sheltered by his demeanour, are laid out of the screen and we truly see who he is, whether he is an asshole or a compassionate, devoted man.
Running with the stream of consciousness thing, the breaking of the 4th wall is one of my favourite film devices. It is used to perfection in Woody Allen's Annie Hall and the first person narrative style is how I write my own short stories. It is the personability of the creative work, the ability to understand someone, to truly see who they are. And in High Fidelity it is no exception. These brief and yet brilliant moments of truth shine through and build upon the greatness of the film.
The plot, albeit discussed in short above, is dealt with very well. The novel is condensed, and not in a bad way. The adaptation, by DeVincentis, Pink, Rosenberg and Cusack himself is great and it reinvigorated my passion for the novel itself. In the film the plot follows along different strains or routes of development, moving from the happenings in the record store, the situation between Rob and Laura and Rob's quest for inner realisation, with not a dull moment in sight.
It is hard to explain why I truly love High Fidelity. Is it just the storyline? Is it because of the book? Is it the superb acting? Is it the humour? Is it the musical references? Soundtrack? Analysis of relationships? Truthfulness? Relatable? Relaxed nature? I honestly couldn't pinpoint it. And why not a 5 out of 5? The recurring motif in the film is Top 5 lists. Well, it has it's problems, but I love it. And that's how it is. If I love a film its a 4.5, just because not everything can be perfect, and I guess that's how I like it. 4 1/2 stars.
