When record store owner and compulsive list-compiler Rob Gordon gets dumped by his long-time girlfriend, Laura, because he hasn’t changed since they met, he revisits his top five breakups of all time in order to figure out what went wrong. As he examines his failed attempts at romance and happiness, the process finds him being dragged, kicking and screaming, into adulthood.
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Credits: TheMovieDb.

Film Cast:

• Rob Gordon: John Cusack
• Laura: Iben Hjejle
• Dick: Todd Louiso
• Barry Judd: Jack Black
• Marie DeSalle: Lisa Bonet
• Charlie Nicholson: Catherine Zeta-Jones
• Liz: Joan Cusack
• Ian Raymond: Tim Robbins
• Vince: Chris Rehmann
• Justin: Ben Carr
• Sarah Kendrew: Lili Taylor
• Penny Hardwick: Joelle Carter
• Caroline Fortis: Natasha Gregson Wagner
• Alison Jr. High: Shannon Stillo
• Rob Jr. High: Drake Bell
• Laura’s Mom: Laura Whyte
• Anaugh Moss: Sara Gilbert
• Barry’s Customer: Rich Talarico
• Beta Band Customer: Matthew O’Neill
• Middle Aged Customer: Brian Powell
• Rob’s Mom: Margaret Travolta
• Laura’s Sister Jo: Jillian Peterson
• Minister: Dick Cusack
• Girl – 19 year old: Susan Yoo
• Paul: Chris Bauer
• Miranda: K.K. Dodds
• Alison’s Mom: Marilyn Dodds Frank
• Kevin Bannister: Duke Doyle
• Boy In Park: Aaron Himelstein
• Chris Thompson: Jonathan Herrington
• Rock Guy: Daniel Lee Smith
• Mourner: Leah Gale
• Mourner: David Darlow
• Marco: Erik Gundersen
• Self: Bruce Springsteen
• Louis: Alex Désert
• Man In Store: Alan S. Johnson
• Party Guest: Ian Belknap
• Party Guest: Andrew Micheli
• Party Guest: Polly Noonan
• Party Guest: Philip Rayburn Smith
• Party Guest: Michele Graff
• Party Guest: Susie Cusack
• Piano Player: Liam Hayes
• Greenday Girl: Damian Rogers
• Skateboarder: Robert A. Villanueva
• Flea Market Musician: Joe Spaulding
• Bartender: Scott A. Martin
• Laura’s Friend: Heather Norris
• Operator (uncredited): Timothy W. Tiedje
• Glam Rocker (uncredited): James Azrael
• Guy in Chem Lab (uncredited): Ian Michaels
• Laura’s Mom (voice) (uncredited): Susan Hegarty
• Woman Selling Records (DVD version) (uncredited): Beverly D’Angelo

Film Crew:

• Original Music Composer: Howard Shore
• Editor: Mick Audsley
• Casting: Victoria Thomas
• Producer: Tim Bevan
• Music Supervisor: John Cusack
• Director: Stephen Frears
• Writer: Nick Hornby
• Music Supervisor: D.V. DeVincentis
• Music Supervisor: Steve Pink
• Screenplay: Scott Rosenberg
• Producer: Rudd Simmons
• Director of Photography: Seamus McGarvey
• Production Design: David Chapman
• Production Design: Thérèse DePrez
• First Assistant Editor: Mags Arnold
• Casting Associate: Kim Coleman
• Sound Re-Recording Mixer: Adrian Rhodes
• Executive Producer: Liza Chasin
• Supervising Music Editor: Michael Higham
• Executive Producer: Mike Newell
• Art Direction: Nicholas Lundy
• Casting Associate: Wendy Weidman
• ADR Voice Casting: Brendan Donnison
• Executive Producer: Alan Greenspan
• Unit Production Manager: Billy Higgins
• Music Coordinator: Doug Dearth
• Property Master: Timothy W. Tiedje
• Camera Operator: William R. Nielsen Jr.
• Best Boy Electric: Robert Swander
• Dialect Coach: Susan Hegarty
• Stunt Double: Chris Nolte
• Post Production Accountant: Tarn Harper
• Post Production Supervisor: Tania Blunden
• Script Supervisor: Chiemi Karasawa
• First Assistant Director: Jeffrey Wetzel
• Still Photographer: Melissa Moseley
• Key Makeup Artist: Jeanne Van Phue
• Stunt Coordinator: Rick LeFevour
• Foley Artist: Jason Swanscott
• Boom Operator: Carl Fischer
• Music Editor: Joe Lisanti
• Unit Publicist: Louise Spencer
• Makeup & Hair: Naomi Donne
• Foley Mixer: Ted Swanscott
• Transportation Coordinator: A. Welch Lambeth
• Assistant Property Master: Michael D. Gianneschi
• Costume Supervisor: Jennifer Jobst
• Production Assistant: Veloz Gomez
• Casting: Claire Simon
• Costumer: Heather Pollock
• Music Supervisor: Kathy Nelson
• Costume Designer: Laura Bauer
• Supervising Sound Editor: Peter Joly
• Foley Artist: Diane Greaves
• Dialogue Editor: Danny Longhurst
• Set Decoration: Larry Lundy
• Sound Mixer: Petur Hliddal
• On Set Dresser: Phillip Ellman
• Utility Sound: Jeffrey A. Williams
• Costumer: Gina Panno
• Color Timer: John Stanborough
• Music Editor: Shari Johanson
• Key Grip: Art Bartels
• Production Accountant: Joan Altman
• Second Second Assistant Director: Anne Berger
• Production Assistant: Joanna S. Frank
• Assistant Location Manager: Jennifer Baron
• Graphic Designer: Derrick Kardos
• Key Hair Stylist: Laura Connolly
• Craft Service: Will Gatlin
• First Assistant Camera: David Morenz
• Assistant Production Coordinator: Margaret J. Orlando
• Foley Editor: Michael Redfern
• Dolly Grip: Fernando M. Briones
• Leadman: Joel Prihoda
• Transportation Coordinator: William T. Hogan III
• Location Manager: Demetra Diamantopoulos
• Loader: Elizabeth Miller
• Location Assistant: John David Wolfe
• Special Effects Coordinator: Sam Barkan
• Construction Coordinator: Terry Baughman
• Second Assistant Director: Aiman A. Humaideh
• First Assistant Editor: Kate Higham
• Production Assistant: David Malley
• Second Assistant Accountant: Adrienne Swan
• Payroll Accountant: Deborah Evans
• Production Coordinator: Anne Johns
• Foley Mixer: Terry Isted
• Stunt Double: Thomas Coe
• Score Engineer: Ed Rak
• Assistant Costume Designer: Margaret Morettini
• Foley Artist: Clare Mahoney
• Production Consultant: Dan Koretzky
• Assistant Sound Editor: Mark Rose
• Camera Intern: Chad Erickson
• Production Secretary: Anita Brongiel
• First Assistant Accountant: Andy Wheeler
• Second Assistant Camera: Daniel W. Fuller
• Gaffer: James A. Miller
• Best Boy Grip: Michael Lange
• Location Assistant: Adam Graham
• Score Engineer: Gareth Jones
• Producer’s Assistant: Anne Devereux
• Producer’s Assistant: Juliette Dow
• Producer’s Assistant: Melissa Sadoff
• Production Assistant: Kenneth w. Bradley
• Production Assistant: Eric H. Heisner
• Production Assistant: Dawn Patch
• Production Assistant: Ed Portoghese
• Production Assistant: Jon Schluenz
• Production Assistant: Jeff Sternberg
• Production Assistant: Adam Rosen

Movie Reviews:

• John Chard: What came first – the music or the misery?

  High Fidelity is directed by Stephen Frears and adapted to screenplay by D.V. DeVincentis, Steve Pink, John Cusack and Scott Rosenberg from the Nick Hornby novel. It stars Cusack, Jack Black, Iben Hjejle and Todd Louiso. Music is by Howard Shore and Cinematography by Seamus McGarvey.

  Record store owner and compulsive list-compiler Rob Gordon (Cusack), embark’s upon a what does it all mean mission when his latest girlfriend leaves him.

  Cusack and Pink take Hornby’s hugely popular novel and redirect it to Chicago, with joyous results. High Fidelity is a tale of human love and a love of music, a sort of battle of the sexes with a soundtrack of masculine life. Rob’s voyage of self discovery is highly amusing, the trials and tribulations of relationships bringing out a number of scenes and scenarios that ring true, not just tickling the funny bones, but also tugging the heart and cradling the brain.

  Away from the doomed love angles it’s the music threads that literally strike the chords. Rob and his two co-workers Barry (Black) & Dick (Louiso) worship music and continually indulge in making top 5 lists whilst bickering with sarcastic glee in the process. All three actors are superb, a trio of odd balls bouncing off of one and other with a zest that’s infectious, though it’s decidedly Cusack’s show. A perpetual miserablist who addresses us the audience at frequent intervals, Rob in Cusack’s hands garners sympathy, pity and laughs in equal measure.

  In the support slots is a ream of talent well in on the joke, beauties like Catherine Zeta-Jones (dropping F-Bombs like they are going out of fashion), Lisa Bonet & Joelle Carter are complimented by the comic skills of Joan Cusack, while Hjejle turns in a wily and womanly performance as the girlfriend who kicks starts Rob’s search for meaning. Elsewhere the sight of Tim Robbins as a new age hippy type – with a black belt in martial arts – is so much fun it reminds of what a good comic actor he can be as well.

  As with Grosse Point Blank, another Cusack/Pink production, sound tracking is everything, and naturally given the setting of the story there is an abundance of classic tunes to delight in. All told it’s a special movie, for all sexes and for all music lovers, but especially for anyone who has had relationship problems. Now what did come first, the music or the misery? Priceless. 9/10

• JPV852: Seen this one a few times over the years, still great each viewing with John Cusack in his element, might even argue should’ve been nominated for an Oscar. I’m not a music fan but still liked that element and features a good supporting cast. **3.75/5**
• Wuchak: **_Romantic head games become tedious_**

  Released in 2000 and directed by Stephen Frears, “High Fidelity” is a romcom/dramedy starring John Cusack, as Rob, the owner of a Chicago record store, co-starring Jack Black and Todd Louiso as his two employees, Barry and Dick. When Rob’s relationship with his live-in girlfriend, Laura (Iben Hjejle) falls apart, he reflects on the five worst break-ups of his dozen years of dating. His past girlfriends are played by Catherine Zeta-Jones, Joelle Carter, Lili Taylor and Natasha Gregson Wagner. Tim Robbins appears as Rob’s rival for Laura’s affections while Joan Cusack is on hand as Laura’s sister. Lisa Bonet plays a rocker chick, a passing fancy for Rob. Sara Gilbert has a bit part.

  What’s interesting about “High Fidelity” is that it features the five general prototypes of guys’ dating life: (1.) the first crush & kiss, (2.) adolescent urgency & loss of virginity, (3.) the hot babe out of his league, (4.) the rebound best friend & soul mate, and (5.) his one true love (maybe).

  If you’ve ever made a compilation tape for a babe and worked at a record store you might appreciate this film. You’ll particularly like it if you favor romantic head games, which I find irritating and is the main reason I have mixed feelings about the film (speaking as a one-woman type of guy). Because of this, I had a hard time staying with it, although there’s enough good in the movie to make it somewhat worthwhile. It’s witty and you can tell the creators put a lot of thought into it, but Rob’s mopey reflections as he constantly speaks to the camera get tedious after a while. Don’t get me wrong, John pulls off the challenging lead role and does so convincingly; I just found his perpetually-smoking character uninteresting. As far as the soundtrack goes, the 90’s pop rock struck me as mostly bland.

  Thankfully, there are several amusing moments. For instance, the scene where someone confronts Rob at the record store in the second half is laugh-out-loud funny, but Rob’s relationship with Laura is decidedly Uninteresting; and Laura’s emotional instability and indecisiveness become increasingly annoying (anyone who would marry such a relationally fickle person would have to be insane). Actually, most of Rob’s romantic relationships become annoying although, like I said, there are amusing bits. Then there’s Barry who arrogantly thinks his opinion on music is law; I kept hoping he’d get his teeth knocked in. On a positive note, the mental manipulations of Rob’s unstable romantic life are offset by Dick, who shows the way to go.

  “Empire Records” (1995) is the better movie simply because it doesn’t go overboard with the dating/romance head games crap.

  The film runs 113 minutes and was shot in Chicago.

  GRADE: C