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Literature / High Fidelity

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High Fidelity is a 1995 British novel by Nick Hornby (also known for About a Boy). It was adapted into a 2000 film directed by Stephen Frears and starring John Cusack. It also served as the basis for a 2006 Broadway musical of the same name. A series based on the film and starring Zoë Kravitz as Rob was released on February 14, 2020 by Hulu.

All incarnations follow Rob Fleming (Gordon in the film), a London (Chicago in the film) record store owner in his 30s whose girlfriend, Laura, has just left him. At the record shop, Championship Vinyl, Rob and his employees Dick and Barry spend their free moments discussing mix-tape aesthetics and constructing "top-five" lists of anything that demonstrates their knowledge of music, movies and pop culture.

Rob, recalling his five most memorable breakups, sets about getting in touch with the former girlfriends. Eventually, Rob's re-examination of his failed relationships and the death of Laura's father bring the two of them back together just as Rob revives his disc jockey career. Realizing that his fear of commitment is a result of his fear of death of those around him, and his tendency to act on emotion is responsible for his continuing desire to pursue new women, Rob makes a symbolic commitment to Laura.


Tropes associated with this work:

  • Adaptation Distillation: In the book, we learn Rob stole Jackie from his friend when they were dating, Jackie got married to his friend, Rob meets up with them during his tour of his romantic history, and they bore him to tears with all the talk about their kids, but in the movie, Rob simply says her their breakup didn't mean anything.
  • Adaptation Expansion:
    • The Kinky Wizards were not in the book (though Rob at one point muses upon the idea of starting a label).
    • The Hulu series stretches to ten episodes, adding new characters such as Rob's brother. While the book is the longest form of this story, the series is a semi-remake of a two hour movie.
  • Adaptation Name Change:
    • Marie LaSalle in the novel becomes Marie deSalle in the film, probably to make it spund more like Marquis de Sade.
    • The protagonist himself, Rob Fleming in the novel, was renamed Rob Gordon for the film. The latter is the name of a Real Life musician, so perhaps it's more "rock'n'roll" sounding.
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    • Rob's exes Allison Ashworth and Jackie Allen were renamed as Allison Ashmore and Jackie Alden.
    • Barry's band name is also changed: both in the book and film, they are called Sonic Death Monkey, but in the book they start out as Barrytown (which Rob ridicules Barry for), something that is never mentioned in the film. At the night of the gig, Barry mentions the names Kathleen Turner Overdrive and Barry Jive and the Uptown Five in the film, and the names the Futuristics and Breakbeat in the book, for no apparent reason.
  • Adaptational Sexuality: Rob in the series, along with being female, is bisexual, while both the previous incarnations were straight.
  • Alliterative Name: Allison Ashworth and Laura Lydon.
  • Aside Comment: In the movie, Rob talks to the audience frequently. This happened in the book, too in a sense; occasionally, Rob would take a moment to personally address the reader.
  • Basement-Dweller: In the novel, Rob is going to the cinema with his parents and sees one of these (whom he dubs The Most Pathetic Man in the World or TMPMITW), and is terrified when he seems to offer Rob a nod suggesting he recognizes a kindred spirit.
  • Behind the Black: In the film, Rob is nearly hit by a skater in the street who he should have seen coming from the angle he was facing.
  • Beta Couple: Dick and Anna.
  • Bigger Is Better in Bed: Played with near the end of the novel; after Rob spending much of the novel worrying about whether Ray is better in bed than him, Laura finally tells him that it doesn't really matter who was better in bed and he should stop making such a big deal out of it - but then appends that she wishes Rob's penis was as big as Ray's.
  • Bunny-Ears Lawyer: For all their incompetence at life, Rob, Dick, and Barry prove to be decent salespeople during a busy period. Rob is also pretty good as a music producer and DJ, and Barry can actually sing.
  • But Not Too Bi: The series has Rob be shown as dating a woman previously, although most of her exes are men in the flashbacks. She is never seen involved with nor even attracted to women in the present.
  • Butt-Monkey: Rob. Although he brings most of his abuse on himself by acting like an ass. Dick is more often Barry's Butt-Monkey.
  • The Cameo: Bruce Springsteen appears as an apparition to Rob in the movie.
  • Casting Gag: Zoë Kravitz is Rob in the series. Her mother, Lisa Bonet, played one of his love interests in the 2000 film version.
  • Celebrity Paradox: Barry points out Rob's "Cosby sweater," so The Cosby Show exists, yet no one comments on Marie La Salle's resemblance to a certain Cosby daughter.
  • Creative Closing Credits: The movie's end credits are displayed as labels on records.
  • Comical Overreacting: Barry does this a lot to opinions on music he disagrees with.
    • He insults a customer repeatedly for "offending [him] with his terrible taste."
    • He calls it "bullshit" when Dick says he prefers the Mitch Ryder and the Detroit Wheels cover of "Little Latin Lupe Lu" to the original by the Righteous Brothers. When Rob defends Dick's opinion as a subjective preference, Barry calls the record store a fascist regime.
    • He called Rob's top five track one side ones "pussy" for only including one relatively new song among a list of more well-known classics and asked how someone with no interest in music could run a record store.
    • It also goes in the other direction. When Barry is introducing a customer he actually likes to records the guy hasn't heard yet, he reacts to learning that the guy has never heard Blonde on Blonde as if the guy is recovering from a recent bereavement. He presses the record into his hands, murmurs "It's gonna be okay," and gives him a hug.
  • Commitment Issues: Rob, for fear that he will commit to someone and they will die, leaving him alone.
  • Cringe Comedy: Features a fair amount of it, especially in the book.
  • Cultural Translation: The adaptation, relocating from London to Chicago.
    • The series does this again, moving to Brooklyn, New York.
  • Date Rape: Penny says that her having sex with Chris Thomson when she was sixteen (immediately after Rob had broken up with her) wasn't too far from this trope.
  • Decomposite Character: In the series, it appears that the character of Laura is split between Mac (the ex who broke Rob’s heart) and Clyde (a nice person who’s ambivalent about getting back together with Rob).
  • Delayed Reaction: Rob is on the phone, talking to Liz, who casually mentions she doesn't think much of of Laura and this 'Ian guy' when Marie LaSalle walks into his shop. Rob puts down the phone, walks out to greet Marie, walks back to his office, clenches his fists and says:
    WHAT?! FUCKING?! 'IAN GUY'?! [proceeds to freak out]
  • Disproportionate Retribution: Barry takes great umbrage to a customer daring to ask if the shop has a copy of "I Just Called to Say I Love You" by Stevie Wonder.
  • Establishing Character Moment:
    • In the film, we are introduced to Barry when he barges into the store while playing air-guitar, insults his coworkers/boss, and then plays 'Walking on Sunshine' by Katrina and the Waves on the radio without realizing/caring that Rob has just broken up with Laura. His literal first words are "Holy Shi-ite!"
    • In both novel and film, Barry chews out a middle-aged customer for daring to ask if the shop has a copy of "I Just Called to Say I Love You" by Stevie Wonder really sets out what an obnoxious superior Jerkass he is. What makes it worse is that the customer clearly establishes that he's buying the record for someone else.
    • In the movie, Rob introduces himself to the audience by first listening to 'You're Gonna Miss Me' by the Thirteenth Floor Elevators, staring directly into the camera with an expression of abject heartbreak, and then asking "What came first? The music or the misery?" It clues us into his knowledge of music and his overall mood throughout the film, but also foreshadows how he deals (or doesn't deal) with his problems.
  • Fan Hater: In-Universe, the protagonists treat people who enjoy music they don't like with disdain, and sincerely believe that a person's tastes in books, films, music etc. is actually more important than their personality. Rob is forced to eat his words in the novel when Laura introduces Rob to a colleague of hers whom he likes very much, and then shows him the colleague's record collection, which is uniformly terrible.
  • Felony Misdemeanor: Barry is particularly bad with treating people with "terrible taste in music" as if they have committed a high crime.
  • The Film of the Book
  • Flat Character: Barry is a much shallower character in the film than in the book. In the book, he's an obnoxious tosspot, but also extremely lonely, and bitter as a consequence. In the film, he's played by Jack Black at his Jack Blackiest.
  • Foreshadowing: Laura's dad's angina, which her mother mentions on the answering machine message at the beginning, and sets off the last act of the movie.
  • Funny Background Event: Charlie's dialogue is either narrated over or muffled during Rob's flashbacks. If you listen closely, you can hear how pretentious and boring she is while Rob talks about how wonderful she was. When Rob meets Charlie against in his 30s, her dialogue is a little more clear as he finally catches onto what an awful person she is.
  • Gender Flip: Rob is made a woman in the series. Barry is replaced by Cherise, a black woman.
  • Good Girls Avoid Abortion: Averted; Laura gets an abortion, but it's handled very realistically and if anything makes her more, rather than less, sympathetic.
  • A Good Name for a Rock Band:
    • Sonic Death Monkey, Barry Jive and the Uptown Five and Kathleen Turner Overdrive.
    • Also Kinky Wizards (the band of the punks who shoplifted in Rob's shop earlier).
  • Heel Realization:
    • Early on, Laura's friend Liz storms into the shop, calls Rob a "fucking asshole" and storms out again, following which Rob realizes that Laura must have told Liz all of the nasty things Rob did to her during their relationship. He then admits that Liz is absolutely right.
    • The series has Rob confessing, relatively late, about something utterly terrible she did. Redeeming this somewhat is her dawning knowledge that she is a "fucking asshole".
  • Historical Domain Character: Though they never feature directly in the narrative, several Real Life musicians pop up in passing (Marie LaSalle slept with a famous American singer-songwriter whose name isn't specifically mentioned, the bands Suede, The Auteurs and Saint Etienne wanted to put up posters in the shop etc.).
  • I'm Standing Right Here: At Laura's dad's funeral, Liz commiserates with Laura's sister, and tells her Laura was already dealing with a part of her life that was going badly. Rob, who's standing nearby, immediately guesses Liz is talking about him, and tells them to pretend he isn't there.
  • Ignored Epiphany:
    • Despite his Heel Realization above, immediately afterwards Rob goes right back to rationalizing away his actions and becomes, if anything, even more self-absorbed and inconsiderate than he was previously, not less.
    • Averted somewhat in the series. Rob admits something bad she did, but seems to, if not fully come to terms with it, at least seem genuinely sorry about it and doesn't choose a destructive path.
  • In Love with Love: Rob, who openly speculates that spending more or less his entire life listening to pop songs about love and relationships inspired this mindset in him, constantly seeking out new, exciting relationships rather than simply learning to be contented with the perfectly good, stable relationship he already has.
  • Indulgent Fantasy Segue:
    • Three in a row, dealing with how Rob wants to deal with Ian when the latter shows up at the store to talk about Laura man-to-man. The first time he loudly tells Ian off; the second time, he threatens him with violence and sends him running from the store like a coward. It culminates with a No-Holds-Barred Beatdown where Rob, Dick and Barry lay him out and crush his head with an air conditioner unit. What actually happens is Rob reacts like a sensible person and says he'll consider Ian's suggestion to drop the matter.
    • The series has a nice little scene echoing this, where once again, Rob imagines assaulting the new lover of the object of her desire.
  • Informed Ability: Barry and Rob (two characters who spend their entire lives listening to records) both observe that the Kinky Wizards are exceptionally talented. The audience might disagree on the strength of the brief snippet from their demo that Barry plays in the shop.
  • Insecure Love Interest: Rob especially towards Charlie. It turns out to be the reason she dumps him too.
  • Intimate Marks: In an Imagine Spot after Rob finds out Laura's living with Ian, he imagines them in bed together, with a tattoo of Ian's name on Laura's ass at the panty line.
  • In-Universe Soundtrack:
    • Most of the songs in the film soundtrack are played In-Universe by Rob and his employees in the record store. This includes a cover of Marvin Gaye's "Let's Get It On" performed by Jack Black, whose character Barry sings it in the film.
    • In the series, much of the music is diagetic, being played in the record store, in headphones when a character puts them on, or from other sources such as phones or laptops.
  • It's All About Me: Rob can be very self-obsessed. He even admits that going over bad relationships won't be good for the women but will at least help him. Laura calls him out on this repeatedly at the end of the novel.
  • It's Popular, Now It Sucks!: In-Universe. This is the guys' standard; Barry calls Rob's picks for Top Five "Track Ones/Side Ones" "very pussy" for only including one semi-obscure Massive Attack song amongst "a bunch of old safe ones". Barry's probably the worst of them in this regard.
  • Jerk with a Heart of Gold:
    • Barry in the movie is such an asshole you want to just punch him in his soft, flabby, stupid face and force-feed him one of his oh-so-precious records, but he actually does care for his friends, and he pulls through for Rob's show at the end (instead of turning it into an obnoxious trainwreck like Rob was rightfully worried about).
    • While he's not as obnoxious as Barry, Rob is revealed to be arguably worse in a low-key, long-term, high-functioning kind of way. He is a selfish, insensitive, immature, all-round toxic person who objectifies the women he dates, prefers to wallow in his own misery instead of getting a grip on his life like an adult, and doesn't notice that he infects the people who love him despite himself. That said, much like Barry, he does care for his friends, and by the end of the movie seems to be making a change for the better by making a commitment to Laura (instead of chasing after the new Manic Pixie Dream Girl) and actually pursuing a career in producing music (instead of just complaining about bad music).
  • Kavorka Man:
    • Downplayed in Rob's case: he fully expects the reader to be baffled as to how, in spite of the fact that he is grumpy, moody, runs a failing business, hangs out with his two employees who are even more pathetic than him and spends his life obsessing about vinyl records, he has nevertheless had sex with seventeen women in the course of his thirty-odd years, including a moderately famous American singer-songwriter.
    • In the book, Rob notes that the reason he lands women is his utter average-ness.
  • Large Ham: Jack Black as Barry. "A COSBY SWEATAHHH!"
  • Leaning on the Fourth Wall: At one point, Liz accuses Rob of being so self-absorbed that he thinks of himself like the protagonist of a story in which everyone else is a supporting character. Rob muses that surely everyone thinks of their lives this way.
  • Lighter and Softer: The film is much more overtly comedic and less mean-spirited than the novel.
    • The series is similarly warm and has comedic elements, missing some of the darker events or themes of the novel.
  • The Loins Sleep Tonight: In the book, Rob worries about this happening immediately prior to having sex with Marie (it doesn't). He seems to be periodically afflicted with it shortly after getting back together with Laura, owing to his insecurity about how he compares to Ray.
  • Loser Protagonist: Rob, by his own admission.
  • Love Revelation Epiphany: Discussed. Rob thinks about how he tends to look at someone differently after finding out they're interested in him.
  • Manchild: Rob, Dick, and Barry are all different shades of this, being antisocial, faux-intellectual, loser dumbasses with dead-end jobs.
  • Manic Pixie Dream Girl: Played with:
    • In the book, Rob admits that he often imagines that future girlfriends will "save" him and help him to fix all his problems, although this is never the case.
    • Subverted in the case of Charlie. When he was going out with her Rob thought she was an example of this trope, an exotic, free-spirited intellectual who would bring Rob out of himself and who "ruined" him by breaking up with him, but when he meets her years later he realizes that she is in fact incredibly shallow, pretentious and narcissistic.
      Rob: She's in the phone book! She's in the fucking phone book! She should be living on Neptune! She's an extra terrestrial, a ghost, a myth, not a person in a phone book!
      Rob (narrating): And then it dawns on me. Charlie's awful. She doesn't listen to anyone, she says terrible, stupid things, she apparently has no sense of humor at all, and talks shit all night long. Maybe she's been like this all along. How did I manage to edit all this out? How had I made this girl the answer to all the world's problems?
    • Another example appears at the end of the movie in the form of a cute girl interviewing Rob about his store and new record label. It leads Rob to realize that he has been fantasizing about girls like these his whole life, and is sick of the fantasy, much preferring the mundane, unsexy, but very real relationship he has with Laura.
  • Manly Tears: Rob cries a couple of times in the film. Subverted because it's usually for stupid, selfish reasons like imagining Laura having sex with Ian.
  • Minor Flaw, Major Breakup: Mostly regarding disagreements of musical opinion. Taken one step further by Barry, who compiles a questionnaire about music, films etc. to present to women he's interested in going out with, to make sure they are suitably compatible beforehand. Naturally, none of the women in question take kindly to this. Ultimately subverted in the novel, when Rob eventually learns that it's possible to like someone (either romantically or platonically) even if they like music that he hates.
  • Mood Whiplash: In the space of a single sentence. "I go for a drink with Liz and she bitches about Ray the whole evening, which is great; and then Laura's dad dies, and everything changes."
  • Most Writers Are Writers: Penny, the ex-girlfriend whom he broke up with when she wouldn't sleep with him or let him feel her up, is now a professional movie critic. Which he thinks is cool, other than the fact that she's working on their date night at the movies and occasionally flashes him in the eye with her flashlight-pen while making notes.
  • Ms. Fanservice:
    • The film has Charlie, played by Catherine Zeta-Jones. So much Rob feels insecure about dating her.
    • In the series, Zoe Kravitz is seen topless or otherwise showing a lot of skin a couple of times. It's not blatantly fanservice, but neither is it 100% plot-necessary.
  • Narration Echo: At least twice in the movie do characters repeat Rob's narration.
    Rob (about Sarah): She'd just been dumped by some asshole named Michael.
    Sarah (in the flashback): I mean, Michael was such an asshole.
  • Never My Fault: Rob is very quick to tell us about mitigating circumstances in breakups and why he isn't to blame. This makes his admission about his failings with Laura all the more poignant at the end of the film.
    Rob: I can see now I never really committed to Laura. I always had one foot out the door, and that prevented me from doing a lot of things, like thinking about my future. I guess it made more sense to commit to nothing. Keep my options open. And that's suicide.
  • No Fourth Wall: Rob continuously addresses the camera in the film. This was the way that Stephen Frears and John Cusack decided to include the massive amounts of very important and integral narration of the book.
  • On the Rebound: During their confrontation, Rob tells Ian that he considers him a cheap rebound for Laura.
  • Panty Shot: We get a quick one when Penny (the nice girl who won't let Rob touch her bra) rolls away from him on the bed.
  • Poster-Gallery Bedroom: Both the shop and Rob's flat are both decorated as such. The first thing Rob thinks about after Laura breaks up with him is getting the emblem of a record label painted on a wall in his flat.
  • Punctuated! For! Emphasis!: "WHAT FUCKING IAN GUY?!!"
  • Race Lift:
    • Marie in the film; she was said to resemble Susan Dey in the book, but is played by Lisa Bonet in the film. What's particularly amusing is that Dick's description of what she looks like in the film is identical to his description in the book, except that he appends "except, you know, black" to the end of it in the former case. Frears has explained that the reasoning behind this is that Marie is supposed to be an exotic character: for a novel set in England, a white American woman is exotic; for a film set in America...
    • Rob, who's white in every other version, has been reimagined as biracial, in addition to being gender flipped, for the series.
    • Barry is now Cherise, a black woman.
  • "The Reason You Suck" Speech:
    • Downplayed in the novel. After getting back together with Rob, Laura repeatedly tells Rob all of the things that are wrong with how he's living his life, but it's because she loves him and hates to see him squandering his potential.
    • Done by Rob to himself in the film where he admits that he never really commits, always has one foot out the door, and is obsessed with living the fantasy of a new exciting relationship forever and not facing the hard work that goes into a real long term relationship.
    • Penny does deliver an awesome one to Rob:
      Penny: I... I was crazy about you. I wanted to sleep with you, one day, but not when I was 16. When you broke up with me - YOU broke up with ME - because I was, to use your charming expression, "tight," I cried, and I cried, and I hated you, and when that little shitbag asked me out and I was too tired to fight him off, it wasn't rape, because I said "OK," but it wasn't far off! Do you know I couldn't have sex until after college because I hated it so much? That's when you're supposed to have sex, Rob - in college! And now you want to have a little chat about rejection, well fuck you, Rob!
    • Series Rob receives quite an epic one in episode nine.
  • Romantic Comedy
  • Seinfeldian Conversation: About half of the dialogue in the shop, especially between Dick and Barry.
  • Short-Distance Phone Call: Rob calls Laura at Ian's place from the phone outside the house.
  • Shout-Out:
    • Several when Rob, Dick, and Barry discuss music (since they work at a record store, this is rather frequent).
    • The book is laden with music shout-outs from start to finish. It includes many of Rob's music-related top five lists, with titles like "Top Five Elvis Costello Songs," "Top Five Best Side One Track Ones," and "Top Five Floor-fillers at The Groucho."
  • Stealth Pun: The title obviously refers to high fidelity sound systems. However, there is also 'infidelity' in the book, with Rob cheating on Laura. Also counts as Fridge Brilliance once you realise.
  • Straw Feminist:
    • Liz isn't too far off this in the book (but then, Rob is an Unreliable Narrator to some extent).
    • Averted in the film where Liz behaves reasonably and tries to keep Rob from going off the deep end and later justifiably calls him out on the awful things he did to Laura.
  • Take That, Audience!:
    • In the book, after listing the four worst things he'd done to Laura, Rob challenges the reader, before judging him, to list the worst things they've done to their partners, especially if the partners don't know about them:
    Finished? OK, who's the arsehole now?
    • This was actually shot for the movie but was cut from the finished version, because the purpose of Rob talking to the camera was to make him more sympathetic, and this was too confrontational. It's included on the DVD as a deleted scene.
  • Tech Marches On: Although CDs were present in the novel (published in 1995), the film features them much more prominently. In spite of this, however, both novel and film are essentially about vinyl purists, so vinyl occupies pride of place irrespective of technological advances.
    • Played with in the series. Vinyl went through a resurgence and in 2020 record stores are still a thing. However, the store also carries cassettes, which one minor character finds odd. Simon, the clerk who replaced the Dick character, admits to still using cassettes as they're "weird and warm".
  • Textual Celebrity Resemblance: Several examples in the book. A woman once said that Rob looked a bit like Peter Gabriel, while Marie LaSalle is described as resembling Susan Dey (see Race Lift above).
  • The Thing That Would Not Leave: As Rob puts it in the movie when referring to the store's assistants Dick (an awkward, slightly creepy nerd) and Barry (an obnoxious asshole):
    I can't fire them. I hired these guys for three days a week, and they just started showing up, every day. That was four years ago.
  • Tomboyish Name: Due to the series making Rob a woman, the name becomes one (it turns out that her full name's Robyn).
  • Toplessness from the Back / Sideboob: Charlie is shown like this post sex with Rob as she puts her shirt on.
  • Top Five List
  • Truer to the Text: The series, unlike the film, opens with the same line the book does and includes the scene where a vengeful ex-wife attempts to sell Rob her husband’s record collection.
  • Unreliable Narrator: Rob's memories of his exes are very skewed and biased, most especially in the case of Charlie. He eventually realizes this himself.
  • Wham Line:
    • "Dad died." Or in the series, Rob admitting she cheated on Mac the very night they got engaged!
    • Number five: "Jackie Alden. Jackie Alden's breakup had no effect on my life whatsoever. It was a casual thing, and I was glad when it ended. I just slotted her in to bump Laura out of position."
  • You Need to Get Laid: Rob thinks this about Barry, and he's not far wrong.


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