Paul G — #9

Paul G logo

Last time we were here, Paul was brought in as a psychological consultant on a top-secret government project involving an artificially intelligent being named Morgan. All two of us who saw that movie know how that turned out. Now this month we’re going to find out what happens when you take Paul and shove him into a movie about comic books, and no, we’re not going to be talking his contribution to the spectacle of disappointment that was The Amazing Spider-Man 2. This month we’re going to be discussing a role with a little bit more substance and nuance than his admittedly terrible Aleksei Sytsevich.

paul-giamatti-in-american-splendor

Paul Giamatti as Harvey Pekar in Shari Springer Berman and Robert Pulcini’s American Splendor.

Role Type: Lead

Genre: Biopic/comedy/drama

Plot Synopsis: An original mix of fiction and reality illuminates the life of comic book hero everyman Harvey Pekar.

Character Profile: Harvey Pekar was an underground comic book writer who developed a unique style and voice by creating the ‘American Splendor’ comics, stories that were autobiographical in nature and that seemed to elevate his everyman status to that of a quasi-hero as he set about dealing with his mundane struggles in a harsh, unforgiving world.  But if you asked him, Harvey was just another guy, another depressed fellow living in a depressing city working a depressing job. Naturally his work reflected a rather dim outlook on life. Born of Polish immigrants, Harvey was one of the few white kids to grow up on his block in a Cleveland suburb and as a result, found himself often being beaten up and without friends. An unhappy childhood seemed to bleed into adulthood. He attended college for a year before dropping out, enlisted in the armed forces but was soon discharged — allegedly for personal hygiene-related reasons. After shuffling through a series of miserable jobs he finally became a file clerk at Cleveland’s Veteran’s Administration Hospital. His friends circle was limited to those with whom he worked, and his romantic life was defined by a series of hastily made decisions that ended in two divorces, though in 1984 he met Joyce Brabner, a writer and comic book shop owner from Delaware. She had written a letter to him seeking a way to obtain a single copy of his latest comic since her store had already sold out. The 2003 film American Splendor divulges much of this, as well as the time the two spent collaborating on ‘Our Cancer Year,’ a graphic novel based upon Harvey’s diagnosis and survival of lymphoma, employing a thoroughly unique format — a hybrid of documentary and dramatic/comedic elements — to bring his personal tales to life. And Harvey may have staked a reputation through his ability to convey mundane struggles in comic form but he never quit his job as a file clerk until he retired. He was also a prolific record collector and dabbled in music and literary critiques. He passed away in Cleveland Heights in 2010 at the age of 73 after an accidental overdose on anti-depression medication having been diagnosed a third time with cancer.

Why he’s the man: Paul Giamatti very well could be at a career-best with this fascinating character, one who teeters on the edge of being sympathetic due to his relentless pessimism and iconoclastic tendencies. There’s something that Giamatti does that seems very small but that which very nearly ultimately defines the creator of American Splendor as a person. Apparently Harvey had a tendency to yell whenever he became frustrated or upset, and Giamatti milks it for all its worth, sounding in some early scenes as though he’s just rubbed his vocal chords against sandpaper for an hour. A memorable (read: hilarious) scene in a diner when he receives the good news that a fellow comic would be willing to illustrate his creations finds the actor shouting out with glee, causing a scene. His voice cracks like a high schooler going through The Puberty. His vocal issues come into play a couple of other times, and while they’re certainly not the only thing to take away from this performance, these moments are excellent touches. The tenor of his voice, when not breaking, is mildly saddening,  Giamatti powerfully channeling a sense of hopelessness and fatigue. Rest assured, though, the actor manages to effect a spectrum of emotions on his journey from a nobody to a relatively obscure somebody. In spite of himself, Harvey remains a compelling presence, a certifiable Average Joe with an unusual gift for creating. This is outstanding work from the actor and quite possibly my favorite role of his.

Rate the Performance (relative to his other work):


All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.imdb.com

30-for-30: Believeland

'Believeland' movie poster

Release: Saturday, May 14, 2016 (Vol. III, Ep. 9)

👀 Netflix

Starring: LeBron James; Arsenio Hall; Hank Aaron; Art Modell; Jim Brown

Directed by: Andy Billman

Distributor: ESPN Films

 

****/*****

Imagine growing up in a city where you’re taught, almost assuredly from at least the eighth grade onward, that losing is a reality you must accept, simply based on some silly geographic lottery that you were thrust into at birth. Surprise! You’re from Cleveland, and your acclimatization to watching your sports team(s) losing is best done sooner rather than later. You’re not a loser, but you’re going to have to get used to the idea of losing.

Believeland, Andy Billman’s portrait of a city synonymous with bleak winters and even bleaker sports seasons, speaks to the harsh reality of being born and bred a Clevelander, and it doesn’t hide the fact that life is viewed just a little more pessimistically in these parts. Yet the film itself isn’t pessimistic and doesn’t beg for pity. In fact it does quite the opposite, demanding respect for a steely, hard-working community patiently waiting for the black cloud that had descended following the 1964 NFL Championship, the city’s last big W, to finally let the sun shine through.

The Fumble. The Shot. The Drive. Red Right 88. The Block. The Trade. The Move. The Lip. Are breaks in the cloud even possible?

Perhaps the film’s poster, bearing some of Cleveland’s most painful trials for all to see, is also the best way to describe Believeland: a series of vignettes that anyone watching around the Cleveland area would likely find a test of endurance. To everyone else it’s a laundry list of bad things that have happened. And, as is poignantly observed by Scott Raab, a native and novelist serving as a casual narrator as he regales us — and his son — at a local diner about all the ways in which his favorite teams have let him down: only Clevelanders will be able to look back and kind of laugh this all off. “That’s Cleveland.”

The story of the woes and the worries, of the pitfalls of being ever the optimist in a place that doesn’t reward optimism takes an interesting turn with the introduction of respected business man and former New York ad executive Art Modell, who in 1961 assumed operations of the Browns organization. A series of unpopular moves put Modell squarely in the crosshairs of passionate fans, who began viewing him as a villain rather than the savior they hoped he would be. It didn’t help matters that Modell didn’t strike anyone as a sports guy; he had no knowledge of the game though his business acumen was rarely questioned.

The firing of coach Paul Brown (the franchise’s first and namesake head coach) turned heads but didn’t earn him anywhere near the animosity his handling of star fullback Jim Brown did. Brown, who was exploring a career in acting on the side, had missed a week of training prior to the ’66 season from production delays on The Dirty Dozen which greatly upset Modell, who publicly threatened him with fines for each day he would continue to miss. Brown decided instead to retire.

Two Browns down; the rest to go? As fate would have it, in a way yes they would. As Modell had a lot of clout developing in Cleveland, he also had invested in repurposing the city’s old Municipal Stadium, agreeing to let both the football and baseball franchises (the Indians) sublease the space. Unfortunately after several fiscally disappointing years Modell became disillusioned with Cleveland as a prosperous venture, and, in an effort to save face decided he would try to move the Cleveland Browns to Baltimore, Maryland. The news of course was enough to set light to an already crackling fanbase, a fanbase that had been growing restless for some time.

Despite a referendum in 1996 that ultimately allowed Cleveland to retain the franchise name, the Browns still faced deactivation for another three years (’97 – ’99). Meanwhile, Modell was busy introducing the Baltimore Ravens, to a decidedly torn fanbase who were simultaneously glad to again have a pro football team to back, but still aching over the loss of their beloved Colts (who relocated to their current city, Indianapolis). Indeed, one of the most heartrending moments of the documentary finds fans tearfully saying goodbye to their players on the last game of the ’95 campaign, a game they managed to win. There were few celebrations though;  instead violent confrontations and security staff at the game were assaulted by particularly unruly fans. Empty rows of seats were uprooted in the stadium and tossed onto the field. It came to symbolize the very antithesis of what a sporting environment should be.

Thus ‘The Move’ occupies a major spot at the table when it comes to all the perceived wrongs done unto the Cleveland faithful, representing quite possibly one of the darkest periods in their history. It makes the acquisition of recent burnouts like Tim Couch and Johnny Manziel pale in comparison. The latter especially may have been an embarrassment in its own right, but it was no back-stabbing like the one everyone saw Modell’s collective anti-‘land strategies as. But ‘The Move’ isn’t what ultimately defines Believeland, although it is all too easy to construct the argument that this documentary is designed almost as if to pardon self-loathing sports freaks.

The advent of LeBron James, and particularly the results of the 2016 NBA season, go a long way in suggesting what Cleveland may have to offer the world going forward. A hugely promising, explosive power forward out of Akron, Ohio, James had been all but prophesied for greatness. Yeah, okay, so I guess we need to tack on ‘The Decision’ to that list of grievances, but the narrative has since evolved from one of bitter resentment to renewed enthusiasm and belief once more that Cleveland’s relevance is only a matter of appeasing The King with the hands he needs to rule a forgotten kingdom.

Click here to read more 30 for 30 reviews.

LeBron Jamesland

“This one’s for you!!!”

Moral of the Story: Believeland speaks to the loyalty of fanbases and it ties the obsession with sports into the economic health of a city in intriguing and often heartbreaking ways. It might not be enough to sway those who see Clevelanders sports fans as rabid people with too much anger, but it just might be enough to entice those curious about the state of things in a city that doesn’t on the surface seem to have much to offer. I found this to be quite an interesting take on sports history and the way those closest to sports teams choose to interpret that history. 

Rated: TV-G

Running Time: 77 mins.

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.espnfrontrow.com; http://www.espn.com