Alternate Best Actor 2000: John Cusack in High Fidelity

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John Cusack did not receive an Oscar nomination for portraying Rob Gordon in High Fidelity. 

High Fidelity is a rather enjoyable romantic comedy about a sad sack record store owner recounting his top five breakups. 

High Fidelity marks kind of the last hurrah for John Cusack as a romantic comedy lead, after having made his bones basically through the genre, despite attempts to branch out to the more dramatic lead, which has had mixed results throughout his career. This though is basically Cusack within his bread and better, though slightly different from the young man looking for love in Better Off Dead and Say Anything, and now a less than middle age, though no longer a young man, dealing with the baggage of his relationships. Now I've always actually liked Cusack fairly well in these kinds of roles. This as he delivers on this sort of strange every man kind of charm. This as he's only kind of charming, he's more so hapless and kind of pathetic. We get that again here, but as an older man, slightly. The weird thing here is, that I think Cusack's performance is particularly essential here to the success of the film, but in a way it is a performance that is based on a kind of consistency. The consistency being that of not quite seriousness nor quite comedic in a way. Cusack is kind of this exact in-between mostly working within these kind of there between always with that state of a kind of sad sackness. And in this sense, his performance is wholly successful as I think a too earnest performance would've lost the sort of comic tone within the material, while a too comedic one would've felt too detached within the romance. Cusack some how sits between both in just the way needed for Rob.

This as Cusack portrays Rob in each of his "Top five" breakups in a very similar way, but in that similar way that works in creating the state of this perpetual kind of discontent, while also seeming pathetic, yet there is something remotely charming about him in that manner of his. This though as it is also fashioned through this recollections that Cusack presents as this ongoing narration/fourth wall break, with a lightweight annoyance that is funny, but also suggests the sense of memory of pain eased by reflection in a way. This isn't to say that Cusack is one note, because he isn't, it is rather this wavering note, that stays within a certain key signature I suppose, I mean might as well be musically inclined due to the nature of the film. Cusack though has these moments of passion, most passion is reserved for the little outbursts about music where his delivery is particularly direct and sure of himself. This against speaking of his romantic situations where that is downer, but in a way that wholly works from making the film feel like a downer or self-loathing. Really I can see this character being such a failure given the amount of self-loathing in there, but Cusack doesn't artfully so that makes it a joke, while making it feel honest, while also not piling it on too thickly. He's just right in a way, and through that I find this one of Cusack's most endearing performances honestly. 

Again there are variations within his performance as Cusack is hilarious in these switches, particularly the outbursts of anger when at his lowest points of relationships, which Cusack heightens just enough to be both funny while also not making the character too cruel seeming in these moments. Now in the relationships we get Cusack in a way making his chemistry work to the degree it needs to, though in a way by being this man of insecurities more constantly than not. Cusack though just has that enough of an endearing energy, whether the relationship is based only insecurity, a mutual desperation, or something potentially more genuine. The latter being the focal relationship with his most recent breakup in Laura (Iben Hjejle). The two do share a particularly sweet chemistry even though it is in a way in between lines, in a moment of a glance or reflection, which Cusack really so fluidly realizes here. This in that he never exactly shows Rob completely move out of that state of his, yet has these better moments, must as he has his worse moments of frustration. It wonderful rhythm that Cusack achieves and manages to pull off to create the investment in the relationship, as much as Rob consistently makes bad decisions and acts like a real jerk in so many ways. Cusack is what makes the film work actually because he makes Rob work as a character, who should really be an insufferable lead in most hands. Cusack hits that balance, and here I think gives the very best example of Cusack in the form that made him a star in the first place, even if it was for one of the last times.

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