Showing posts with label AMC. Show all posts
Showing posts with label AMC. Show all posts

Sunday, December 2, 2012

Cusack family is featured in High Fidelity


John Cusack and his sister Joan Cusack both star in High Fidelity, a 2000 movie based on the novel by Nick Hornby.

A few years ago in 2000, I remember vividly when the record-store-based movie High Fidelity was being promoted in interviews with John Cusack and his older sister Joan.  John, who I first remembered playing a teenager in the movie Sixteen Candles, helped to write and co-produce the movie, which is based closely on the 1995 book of the same name by Nick Hornby. John cast three other members of his talented family: his older sister Joan, who I also first saw in Sixteen Candles, his younger sister Susie, and their father Richard "Dick" Cusack.

The movie is showing tonight, Dec. 2, Monday Dec. 3, and on Tuesday Dec. 4 on television on  Sundance and AMC, the American Movie Channel network. Times are listed below.

I immediately went out to see the movie as soon as it was released, and I consider it to be one of the best of the year 2000, along with other fine music-filled and interesting artsy movies such as Almost Famous, O Brother Where Art Thou, and Billy Elliott. The movie was nominated for a Golden Globe, along with numerous other honors. Writers John Cusack, Steve Pink, Scott Rosenberg, and D.V. DeVincentis were nominated for a BAFTA award for best adapted screenplay, and Jack Black won a Blockbuster Entertainment award for best supporting actor in a comedy/romance.

John Cusack took on the title role of Rob Gordon, a vintage collectible record store owner in Chicago, who's live-in girlfriend Laura (played by Iben Hjejle) is fed up and finally leaving him. His older sister, Joan, is cast in the role of Liz, a mutually supportive friend and confident.

Throughout the movie, Rob counts down his top five past relationship breakups, evaluating what went wrong and why he's once again, alone. He calls up each of his old girlfriends, arranges to meet with them, then rehashes the past, looking for clues pointing to why his romances always seem to fail.

There's Caroline Fortis (played by Natasha Gregson Wagner), who was his first kiss in junior high school, but she kissed a different boy a few days later much to the dismay of Rob. Then, there was Penny Hardwick (played by Joelle Carter) who dated him in high school, but would never put out. One of his lost loves was Charlie Nicholson (played by Catherine Zeta Jones), who he dated in college. Gorgeous, popular, and seemingly out of his reach, Rob was mesmerized by the very idea of being Charlie's boyfriend. Then, there is the beautiful and mysterious singer Marie de Salle (played by Lisa Bonet), who he goes to see perform. There are a few missteps and stark awakenings along Rob's journey of self-discovery. For instance, past girlfriend Sarah Kendrew (played by Lili Taylor) has now become unbalanced and is struggling to keep her sanity while on prescriptive medications.

Paralleling the plot are scenes in the record store where the two employees, Dick (played by Todd Louiso) and Barry (played by Jack Black), count down the top five songs of various made-up categories, such as: Monday songs, songs to play at a funeral, first songs on first albums, and songs to make love to. Rare and unusual tidbits of music trivia, much of it from the original novel, are sprinkled throughout the script, and we even get to see a surprise cameo by Bruce Springsteen, as himself, who gives advice on breaking up in his song, "Bobby Jean." Music by local Chicago bands is featured throughout. Even Jack Black performs.

Other famous actors make appearances in minor roles: Tim Robbins is a zen-like neighbor named Ian and Sara Gilbert is Anaugh, a record store patron. Luke Perry is a dinner party guest. Margaret Travolta, John Travolta's sister, provides an amazingly realistic and humorous portrayal as Rob's mother.

In the end of the movie, we come to the conclusion that Rob Gordon's perception of his failed past relationships is perhaps the only major part of his behavior which is in error. It turns out that not all the girlfriends left him, he has forgotten that he broke up with some of them as well. Some are perhaps better left alone as he rediscovers why they simply weren't right for him. In all cases, we find that like many men, he has failed to communicate his feelings properly. Throughout this process, he learns to open up and bare his soul, which leads to a realistic, yet somewhat happy ending.


Dick Cusack as the minister at Laura's father's funeral.

Susie Cusack (at right) plays a dinner guest at Charlie's (Catherine Zeta Jones) dinner party.

Notes on the Cusack family

The two other Cusacks are cast in minor roles. During a later scene in the movie, Patriarch Richard "Dick" Cusack plays the role of the minister at Laura's father's funeral. Sibling Susie Cusack is cast as a party guest at Charlie's dinner party.

There are two other Cusack siblings in the business who do not appear in the movie: Ann and Bill, who are equally talented. Ann Cusack, like Joan and John, is quite busy, having recently wrapped up her regularly appearing role as Susan Grant in the Grey's Anatomy spin-off show, "Private Practice." She is currently guest starring on several television shows.

Their mother, Nancy Cusack, though not in the business, is a former mathematics teacher and political activist, a passion held by her children.

Sadly, patriarch Dick Cusack passed away only three years after the release of this movie in 2003 due to pancreatic cancer. He has left behind a legacy in their hometown of Evanston Illinois, where he worked to preserve a school and turn it into the Noyes Cultural Arts Center, where his own children trained to be come actors.

High Fidelty is airing:
  • Sunday Dec 2 at 10 PM on Sundance
  • (channel 179 or 374 on Brighthouse in Orlando)
  • Monday Dec 3 at 7 PM on Sundance
  • Tuesday, Dec 4 at 3 AM on AMC
  • (channels 48 or 1355 HD on Brighthouse in Orlando)
  • Tuesday, Dec 4 at 9:15 AM on AMC


Monday, August 17, 2009

Mad Men Needs a Stronger Cage

Role reversal: Office manager Joan Holloway (Christina Hendricks) stands over copywriter Peggy Olson (Elisabeth Moss).

The season premiere of Mad Men, a satirical, but historically accurate view into the world of the early 1960s old school, male-dominated advertising business, aired last night, Sunday at 10 PM, on AMC (Channel 48 on Brighthouse Cable, Central Florida). The “star” (if you can name just one) of Mad Men, Jon Hamm, who plays ad executive Don Draper, has traveled the TV talk show junket, promoting the show to exhaustion. I thought I’d watch it to see what all the hype is about.

Now in Season 3, the series has won a multitude of accolades, everything from SAG awards (Screen Actors Guild) to Golden Globes, to the more obscure, Golden Nymph award at the Monte-Carlo TV Festival. A full list is on IMDb.com.

I’ve seen Season 1 and 2 reruns off and on while flicking through channels during lazy weekends, where I’ve been mesmerized by the show’s cleverly animated and professionally scored intro. However, I’ve never watched the show in it’s regular timeslot. Now, I am making an effort.

My favorite characters are the working women: I commiserate with Miss Peggy Olson, played by Elisabeth Moss, who as a soft spoken woman, asks, but gets little respect despite her esteemed position as a copywriter. However, I also admire the moxy of office manager, Miss Joan Holloway, played by Christina Hendricks, who understands that although she may be a glorified secretary, she wields a great deal of power in the very male-dominated office.

The Season 3 opener, “Out of Town,” opened just-plain-strange, with Don Draper falling into a dream-like reverie about pioneer childbirth, while heating up a glass of warm milk for his pregnant wife. The opener was reminiscent of Twin Peaks, which after an award winning Season 1, lost it’s footing in the dreamy, meandering and very strange, Season 2 – not a good thing.

All quirkiness aside, my biggest criticism of the show is that it truly is a soap opera, not a series at all. Not only do you have to watch each and every show to keep up, the episodes themselves are not self-contained and the one-time viewer feels as if they are sitting in the waiting room of a busy office while witnessing a small snippet of an on-going drama. A really successful long running show will have two storylines: the plot of that particular episode which is 100 percent self-contained and fully explained; and the on-going plot which ropes viewers in and makes them want to watch the show again next week to see what happens. Daytime soap operas can succeed without doing this, with daily airings during worker lunch breaks and when students don’t have classes. However, a true nighttime soap opera has to have a much more seductive draw than the middle aged exploits of Mad Men.

I am happy to see the super talented Colin Hanks as the believable Father Gill (so believable, I didn’t even recognize him), and secretly hope that his character leaves the priesthood to marry the very nice and well-deserving Peggy Olson. The last series I watched Hanks in was Roswell, which gained a huge following during Season 1, but lost its way in Season 3 when the writers forgot that the show was supposed to be a weekly TV series, not just a quirky, sci-fi soap opera.