Rob, ein Plattenladenbesitzer und zwanghafter Listenhersteller, berichtet über seine fünf erinnerungswürdigsten Trennungen, einschließlich der aktuellen.Rob, ein Plattenladenbesitzer und zwanghafter Listenhersteller, berichtet über seine fünf erinnerungswürdigsten Trennungen, einschließlich der aktuellen.Rob, ein Plattenladenbesitzer und zwanghafter Listenhersteller, berichtet über seine fünf erinnerungswürdigsten Trennungen, einschließlich der aktuellen.
- Nominiert für 1 BAFTA Award
- 3 Gewinne & 22 Nominierungen insgesamt
Handlung
WUSSTEST DU SCHON:
- WissenswertesJohn Cusack and the screenwriters wrote the script with Jack Black in mind for the role of Barry. He nearly turned the role down, but reconsidered.
- Patzer"Janie Jones" by The Clash is listed as a "side one, track one." While it is indeed the first track on The Clash's British debut album, and the book was set in England, the film was moved to the USA, where the album started with "Clash City Rockers." But as record geeks, they would have been familiar with the British album as well, and could well have regarded it as the true debut album.
- Zitate
[first lines]
Rob: What came first, the music or the misery? People worry about kids playing with guns, or watching violent videos, that some sort of culture of violence will take them over. Nobody worries about kids listening to thousands, literally thousands of songs about heartbreak, rejection, pain, misery and loss. Did I listen to pop music because I was miserable? Or was I miserable because I listened to pop music?
- Crazy CreditsCatherine Zeta Jones is only credited in the final cast list and not in main credits
- Alternative VersionenBeverly D'Angelo appears as a woman attempting to sell her husband's vintage record collection to John Cusack's character. The scene was deleted but included with several others on the DVD release.
- VerbindungenFeatured in Siskel & Ebert & the Movies: The Early Line: The Academy Awards (2000)
- SoundtracksYou're Gonna Miss Me
Written by Roky Erickson
Performed by 13th Floor Elevators (as The Thirteenth Floor Elevators)
Courtesy of Charly Licensing APS
By Arrangement with Celebrity Licensing Inc.
It's to John Cusack's credit that he took a "classic" contemporary novel set in London and transposed it to Chicago - and it works just as well (if not better) than the British version. It shows what a universal story this actually is, if so many people from all over the world can appreciate it, no matter where it is set. What we lose here are the abbreviations such as "mate," "cos" and other British expressions - but essentially the story is exactly the same, as is the character of Rob Gordon.
Cusack proves his worth here and there isn't a single bad performance in this film, except perhaps for the love interest who tries to sport an American accent and it's quite uneven at times.
Jack Black is fantastically funny and reveals once again why he's leagues ahead of other obese comedians like Chris Farley who merely relied on OTT acts and weight for laughs - Black, like John Candy, actually acts and so far in his career has turned out some really good films which is more than can be said for many of his competitors.
The script has some very funny one-liners and movie/music in-jokes (I love the "Evil Dead" bit - "Because it's so funny, and violent, it's got a kick-a$$ soundtrack...and it's so violent!").
But at the end of the day what really haunted me (so to speak) about this movie long after I had seen it was the fact that it DOES stay with you ages after the credits have stopped rolling. It's poignant and really spot-on in many regards - add that to a film full of flawless performances and great direction and clever ideas and one-liners and jokes, and you've got a top-notch comedic masterpiece that places "High Fidelity" in the top ranks of American (and British!) comedy - "with," as the DVD back cover says, "a bullet." Highly recommended. 5/5
- MovieAddict2016
- 12. Dez. 2004
- Permalink
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Details
- Erscheinungsdatum
- Herkunftsländer
- Sprachen
- Auch bekannt als
- Alta fidelidad
- Drehorte
- Produktionsfirmen
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Box Office
- Budget
- 30.000.000 $ (geschätzt)
- Bruttoertrag in den USA und Kanada
- 27.287.137 $
- Eröffnungswochenende in den USA und in Kanada
- 6.429.107 $
- 2. Apr. 2000
- Weltweiter Bruttoertrag
- 47.126.295 $
- Laufzeit1 Stunde 53 Minuten
- Sound-Mix
- Seitenverhältnis
- 1.85 : 1