"In 'Fidelity'"
by Scott Mantz

"High Fidelity"
John Cusack, Jack Black, Iben Hjejle
Directed by Stephen Frears

Rock'n'roll circus! John Cusack and Todd Louiso face the music in "High Fidelity"

Commitment sure isn't easy. In fact, it's downright scary. These days, more people seem to be putting off commitment while they take more time to explore themselves, sometimes waiting until well past their 30's before finally settling down. Call it self-absorption, or call it what you will, but the aptly-titled "Generation-X" clearly has a different agenda in mind than previous generations. Case in point is John Cusack, who proves in director Stephen Frears' latest film that overcoming your fear of commitment and moving to the next level can be a truly frightening experience. "High Fidelity" is a sharp and hilarious film that examines one man's desperate attempt to cling to his youth when he knows that it's time to grow up and face the music.

Rob Gordon (John Cusack) is not a happy camper. He's in his early thirties, and he still lives like a bohemian. His run-down apartment is stacked from floor to ceiling with vinyl LP's (remember those?), so it makes sense that he is the not-so-proud owner of Championship Vinyl, a vintage record store in Chicago that never seems to have any customers. When he's not arguing with his two music-geek employees (Jack Black and Todd Louiso) about what to play over the PA system, he's obsessing over the breakup of his relationship with his girlfriend Laura (Iben Hjejle). Rob tries to understand why his love life always ends up in shambles, so he calls the women from his top 5 worst breakups ever to find out why they ended in the first place. When Rob comes to the realization that he's his own worst enemy, he makes one last-ditch effort to overcome his fears before he loses Laura for good.

After making a name for himself in above-average 1980's high school flicks like "The Sure Thing" and "Say Anything", Cusack graduated to more adult fare, raging from the critically acclaimed "The Thin Red Line" to the totally far-out "Being John Malkovich". Still, it's his writing ability for the people who grew up with his movies that's even more impressive. In 1997's "Gross Pointe Blank", which he co-wrote with D.V. DeVincentis and Steve Pink, he tackled the fear and loathing that goes along with attending your 10 ten-year high school reunion. It didn't matter that his character was a professional hit-man--he still nailed the apprehension that goes along with facing old friends, past flames, and people you hoped you'd never have to see again. With "High Fidelity", adapted by the "Blank" team from Nick Hornby's acclaimed 1995 novel, Cusack captures the fear that goes along with growing up and facing maturity, responsibility, and commitment.

Fortunately for his character, Cusack has never looked better--or more miserable. He's stayed the same while everyone else around him has changed and moved on. Only now is he realizing just how unhappy he is, and the time has come for him to make some important decisions. He can still stay true to himself, but he knows that for the first time in his life, he has to make a commitment. That means compromise. That means worrying about someone else other than himself.

While Cusack's misery is understandable, his constant grating to the camera starts to get under your skin. That's where the rest of the cast saves the day. Jack Black is hysterical as the music store grunt whose passion for music alienates him from anybody else who doesn't share his tastes. Co-worker Todd Louiso may be just as opinionated about his passions, but at least he has a more charming shyness about his delivery. Iben Hjejle (who bears a striking resemblance to actress Mary Stuart Masterson) is in fine form as the object of Cusack's desire.

"Fidelity" is sprinkled with amusing cameos galore. Lisa Bonet is sultry and seductive as an up-and-coming musician (with a soothing rendition of Peter Frampton's "Baby, I Love Your Way"), while Catherine Zeta-Jones and Lili Taylor also make brief, but memorable, appearances as past Cusack flames. Tim Robbins redeems himself for "Mission to Mars" with a hysterical appearance as Hjejle's spiritual boyfriend from Zen-hell, while "The Boss"--as in Bruce Springsteen--appears in Cusack's dreams, giving him advice on (what else?) love.

While there's certainly nothing wrong with being a kid at heart, the adult in the rest of your body has to be allowed to shine through. It's one thing to cling to your youth, but it's another thing entirely to become trapped by it. The trick is to break free by recognizing a good opportunity when it happens or by making it happen on your own. Sure, change is scary, but it's also inevitable. "High Fidelity" proves that overcoming your fears--fear of commitment, fear of change, fear of growing up, fear of love--is the best way to turn your life into a rock'n'roll masterpiece instead of rotting away as a one-hit wonder.

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