![]() Listen: The Velvet Underground, “Oh! Sweet Nuthin’”įor the rest of his film, Kubrick opted for the oversized melodrama of modern Eastern European classical music, with the strains of Krzysztof Penderecki’s shrieking strings and György Ligeti’s orchestral lurches hinting at premonitions and fears left unspoken. With no new music written specifically for the film (other than Jack Black’s in-character rendition of “Let’s Get It On”) it reintroduced the idea of the soundtrack as a lovingly crafted mixtape, a trend that extended toward Garden State and beyond. The 2000 film succeeds by blending old-school favorites (the Kinks, Elvis Costello, the Velvet Underground) with some of the previous decade’s most promising newcomers (Smog, Stereolab, Royal Trux). High Fidelity’s soundtrack was tasked with summarizing this mindset in a tidy 15 tracks, and its curation was apparently one of the most difficult tasks in bringing Nick Hornby’s 1995 book to the screen. ![]() “But you’d feel better.” Here is the ultimate fantasy of music fandom: the artists you love speaking directly to you, about your problems, at the expense of everyone else in the world. “They’d feel good, maybe,” drawls the Boss. ![]() Sitting at the bedside of Rob Gordon-the film’s record-collecting hero, played with mopey, proto- Seth Cohen narcissism by John Cusack-a muscled ’90s Bruce rips uncharacteristically bluesy riffs on his guitar and gives questionable advice about getting back in touch with your exes. To this day, High Fidelity remains Bruce Springsteen’s only acting credit in a film.
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