JOHN CUSACK

by Nate Lee 

BEST FILM:

Say Anything...

He made the movie. The movie made him. “Being John Malkovich” could be a close second, but wasn’t tied to John’s performance. Fans of Cusack would no doubt put “High Fidelity” in second place. 

BLOCKBUSTERS:

ConAir

Thin Red Line 

CHICAGO JOHN:

Say Anything

Grosse Pointe Blank (okay, it’s Michigan, but close enough)

High Fidelity

Sixteen Candles

Eight Men Out 

ROMANTIC JOHN:

Say Anything

High Fidelity

The Sure Thing

Serendipity

Must Love Dogs 

QUIRKY JOHN:

Say Anything

High Fidelity

Being John Malkovich

The Grifters

Ice Harvest 

OTHER GREAT PERFORMANCES YOU MAY NOT HAVE SEEN:

Bullets over Broadway (Woody Allen’s alter ego)

Midnight in the Garden of Good and Evil (a journalist, opposite Kevin Spacey)

Max (a Jewish art dealer dealing with a young Hitler)

Runaway Jury (the member of the jury running away with it)

Fat Man and Little Boy (a nuclear scientist)

Cradle Will Rock (Nelson Rockefeller)

Map of the Human Heart

Better Off Dead 

THE REAL J.C.:

The Chicago Films...

Any of the Chicago films (except Sixteen Candles, where he plays a nerd) show the real John, especially “High Fidelity,” which also reveals a true music lover and a romantic lead. Like many of the truly gifted actors streaming out of Chicago in the ‘80s and ‘90s, Cusack returns regularly to direct and act in local theatre. That’s the real real John. 

ACTING STYLE:

Part of Cusack’s genius is in playing a (sometimes high-strung but) really normal Midwestern kid/adult, often in a really not-normal world (sort of the antithesis of sister Joan). He is often at his best in trying to make sense of it all, which makes him an especially compelling romantic lead.  

BITS AND QUIRKS:

The fast talk. The buddy chat, particularly with real-life buddy Jeremy Piven. The really dumb mouth agape look. The stance with one shoulder higher, or both up and a cool slouch. Raised eyebrows and a funny relaxed pursing of the lips and a constant nodding of the head. 

GREAT SCENES:

SAY ANYTHING - The seminal scene, probably copied by thousands of would-be romantics, holding the boombox above his head to declare his love, via serenade, to Ione Skye

BEING JOHN MALKOVICH - The too-short office > Going through the hole, into John Malkovich, and then being dumped by the side of the highway

BULLETS OVER BROADWAY - The penchant for talking too much, especially with Dianne Wiest, who sweetly silences him with the ironic plea, “Don’t speak. Don’t speak.”

HIGH FIDELITY - Jack Black’s abusing the customers while Cusack looks on helplessly > Talking to the camera about relationships and music

GROSSE POINTE BLANK - The shoot-out in the convenience store and then rescuing the unappreciative worker

 

GO TO THE... JOHN CUSACK BIO