On the surface, High Fidelity is a story about breaking up and getting back together again. Only, thanks to director Stephen Frears' narrative technique, we don't realize this until the credits start to roll. He plunges into the life of Rob Gordon, played by John Cusack, on the night his girlfriend, Laura, leaves him. Rob's subsequent depression and self-analysis is the focus of the film; getting the girl back becomes secondary.
R ob Gordon is kind of a jerk. When Cusack was cast as the lead in High Fidelity, it was hard not to think of him as a grownup version of Lloyd Dobler in Say Anything … — just as aimless and uncertain about the future, but coarsened by failed relationships and the grinding inertia of his professional life. At roughly the same age Lloyd was out there escorting the valedictorian around a patch of grass in the parking lot, Rob was breaking up with his girlfriend for not yielding to his aggressive advances. And the film is richer for it. The film version of High Fidelity has a strange, magical alchemy working for it: an American adaptation of a British novel, written by Americans Cusack and his writing partners DV DeVincentis and Steve Pink, and Scott Rosenberg and directed by a Briton Stephen Frears , with the location shifted from London to the north side of Chicago. Did I listen to pop music because I was miserable? Or was I miserable because I listened to pop music?
High Fidelity. Victor Gollancz, High Fidelity by Nick Hornby revolves around the professional and romantic endeavours of the protagonist Rob Fleming. Rob is struggling to cope with the diminishing returns from his hapless record shop, Championship Vinyl, which he runs with the help of Barry and Dick, two music lovers.
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