Daily actions are complicated and routine can quickly feel like chores. In the course of a day thousands of things occur that can cause displeasure, but most people hope they can let things go.
Paul Giamatti’s character, comic book legend Harvey Pekar, in “American Splendor” can’t let anything go. It is too bad because he lives a life of loneliness, boredom and lack of motivation to do anything of importance. Despite Harvey’s flaws, there is something special about watching this awkward human being find his way through the maze of life. Directors Robert Pulcini and Shari Springer Berman and producer Ted Hope- a University of Massachusetts graduate – put together a film that expands the imagination and excites the audience.
The film begins with a narration done by the real Harvey Pekar, who is continuously used to let the audience see the similarities between the real Harvey, and Giamitti’s astonishing portrayal of him. During the opening credits the audience is able to get a sense of the style of the movie. The images transform from Henry walking down the street to shots of Henry’s cartoon character expressing his discontent with life.
As the movie progresses and the story develops, we are quickly able to identify Harvey as a true loser. His voice doesn’t even work, and all of his anger has to be kept inside where it builds into a huge pile of malcontent ness where nothing positive matures. Things begin to turn for the better when Henry decides to take action in his life. He starts to write the comic strip equivalent of “Seinfeld”, commenting on the humor of every day life.
Despite his rising fame, he still holds all of his qualities of before. Over time he has only become lonelier. Just as the movie is turning into another depressing “Punch Drunk Love”, a sense of hope is brought out by Hope Davis’ character Joyce.
Davis does a tremendous job of playing a frustrated, but optimistic comic salesmen who resides in Delaware. Upset that her hippie co-worker sold the last issue of Henry’s comic “American Splendor”, she writes to Henry in hope of receiving an extra copy. As they begin to correspond, they both realize that they are strange people, and of course have a lot in common. Their relationship begins with a small, no-tongue kiss, followed by Joyce needing to throw up because her stomach is sensitive to restaurant food.
The story of them meeting through mail seemed too much like a Tom Hanks and Meg Ryan movie, but it quickly is checked into reality by a PG love scene that ends with Joyce spewing over the toilet. This movie is not the Hollywood spin to life, and it clearly wants to show the dark humor of every day occurrences. Every moment where things seem to be too cheerful, the writers and director find a way to bring the movie off the Hollywood pedestal and back to the outrageousness of reality.
Many films have tried to dwell on nothing and the simplicity of life, but many fail to make the film interesting. No matter what type of emotions are brought out during a movie, if boredom is one of them, the picture will not work as a whole. “American Splendor” puts everything together nicely and basing it on a true story helps the cause as well. When the film ends and it seems like everything has worked out for the better, the real Harvey quickly adds that everything is not perfect. And he is right, everything is not perfect – but “American Splendor” as a whole has come pretty close.
