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These days, the picture adaptation of comic books are very popular. However, it is unlikely that fans of X-Men, Spider-Man, Hulk and will flock to American Splendor. While on the basis of comic books, this film is much different kinds. Begin with, the main character, Harvey Pekar, devoid of anything like a superpower. In fact, he normal guy with normal and ordinary family whose noteworthy characteristics of his acerbic wit and his obsessive / compulsive personality.

Harvey Pekar began his “American Splendor” comic books in 1976. His autobiographical radical approach: to create a story about a normal curmudgeon going about his daily routine. Because Harvey was not an artist (his draft renderings of people were stick figures), he initially worked with the underground comics legend R. Crumb (and later others) to illustrate their books. Originally, “American Splendor” volume reached about once a year, and very small circulation. Over the years, they have developed a limited (but passionate), the following, and Harvey has become a sort of cult figure, appearing on “Late Night with David Letterman” on several occasions, in the late-1980 s and early 1990s (his final appearance for the present Day was in 1994). In early 1990, Dark Horse Comics has taken the publication of “American Splendor”, which led to an increase readership. Harvey soon became a well-known print and radio commentator, and the release of this film marks another step in a long ladder to the widely accepted.

In accordance with Harvey in unorthodox approach to comics and pop culture, film eschews the traditional structure of the overall biopic. Instead, we were treated to production, which is part of the narrative of the documents, and a portion of the animation. Harvey represented by at least five different ways: as a brilliantly played by character actor Paul Giamatti as himself in the new material shot for the film, in the old clips from the David Letterman show how animation, and (briefly) by the actor Donal Logue stage in the game . The same place for several renderings Harvey wife, Joyce Babner (played by Hope Davis, in some scenes), his reception daughter, Danielle (played by Madylin Sweeten), and his associate, products-nerd Toby Radloff (played by Judah Friedlander).

American Splendor begins with a brief scene in 1950, reflecting the Harvey trick or treat. All around him was dressed in a costume - Batman, Robin, Superman, Green Lantern - but Harvey decided to make rounds, as he himself. Except for a brief sequence in 1962, which indicates how Harvey met Robert Crumb, the rest of the film will take place in late 1970 and the 1980s. American Splendor describes how Harvey began comic, how he met and married Joyce (his third wife), how he became a semi-regular on the Letterman show, and then lost his guest status when he explosive GE (which owned NBC ), and about how he came into battle with cancer. Along the way, we meet other pillars of the comics, including the semi-famous Toby Radloff, who once drove more than 200 miles (round trip) to see Revenge of the Nerds.

With creative and visual point of view the film is doing a lot of interesting things to revive the narrative. In voiceover have real Harvey Pekar, who also appears in several scenes, which are sometimes being interviewed documentary-style, and other times, working with Paul Giamatti. Some of the sequences Lettermen actual materials used, although one of the newly created (using Giamatti and stand for Letterman, who looks and sounds nothing like late night host). There are also a few moments of animation, and, on at least one occasion, animated versions of Harvey interact with the live action actors, although that is somewhat less impressive than in Who Framed Roger Rabbit.

American Splendor determines its agenda at the beginning. “If you are looking for a man or a romantic fantasy and escapism,” Harvey in the voiceover intones: “You are wrong to film me.” Indeed, although Harvey and Joyce became a pair, it is not so much “love match than a meeting between two people with similar codependent neuroses. Despite receiving some fame, Harvey never makes enough money to be able to complete their work as The receptionist at Cleveland VA hospital. Describes himself as “gloomy guy, and Letterman said:” You look like every police thumbnail sketch artist I have ever seen. ”

As Crumb, Terry Zwigoff historical documents, American Splendor is a compelling character study of an important figure in the underground comics. The film such good work on the development of Harvey, as a symbol that she eventually becomes transparent Are we witnessing a real person or his Giamatti-acted alter-ego. And, despite the fact that Giamatti does not really look like Harvey (although he perfected many of his mannerisms), the illusion is not broken every time the movie switches back and forth.

For Giamatti, a character actor who often plays losers, American Splendor is an opportunity to take center stage. He rises to the challenge, turning in a career performance solutions. Hope Davis almost stunned as Giamatti, adding this film in the various summaries, which includes such Next Stop Wonderland and About Schmidt. Lack of a high-profile actor gives American Splendor deeper sense of realism than they could be. (A strange to use the term “realism” that the film contains animation…)

This is the first opportunity for the sharing of Directors Shari Springer Berman and Robert Pulcini, who previously worked on three documentaries. Directed by Ted Hope, a big fan of the “American Splendor” comic books, hand their chosen for the job, and his faith was rewarded, as they turned in one of the most inventive films of the year. The film was awarded the victory in both Grand Jury Prize at Sundance, and the FIPRESCI Award at Cannes (where it has been identified as one of the few “bright spots” in the dark films roster). American Splendor deserves the accolades, not only because it tells an interesting story about a fascinating person, but because it does so with such freedom and freshness. I wish more of the comic book-inspired films were like this.

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