HOSPITAL file clerk Harvey Pekar is a modern day comic book superhero.

He doesn't have any special powers to speak of, nor does he save the world, but hundreds upon thousands of loyal fans follow his exploits in the American Splendor comic book series, which began in 1976.

Over the years, the comic generated a steady and passionate following which elevated Harvey to cult status, reaching a pinnacle during the late 80s when he secured a regular guest slot on Late Night With David Letterman.

Fittingly, this ended in acrimony when Harvey launched into a vicious diatribe, live on air, against the company which financed the NBC television network.

He was dropped from the show soon after.

Shari Springer Berman and Robert Pulcini's film chronicles Harvey's life from a young boy right up to the present day, focusing largely on his rise to notoriety during the 70s and 80s, and his meeting with ardent fan Joyce Braber, who would become his soulmate and third wife.

The writer-directors use a dazzling mosaic of archive footage, interviews, dramatisations and animation to capture the spirit of the man.

Thus, the real Harvey narrates recreated scenes from his life (featuring actor Paul Giamatti as our morose hero), who occasionally engages in conversation with the cartoon version of Harvey.

And the real Joyce commentates on her fictionalised self (played by Hope Davis).

The effect is a film every bit as startling, surreal and mesmerising as the comic book series of the same name.

Harvey is charming, despite his nervous tics and compulsive-obsessive behaviour.

He says what he thinks, regardless of the consequences, and proves himself a most entertaining if unlikely philosopher of the human condition: "Ordinary life is pretty complex stuff," he notes sagely.

Giamatti's impersonation is uncanny, right down to Harvey's speech patterns and mannerisms, and Davis beautifully inhabits the skin of the woman who fits Harvey like a glove.

American Splendor is impossible to categorise, blurring the boundaries between traditional documentary and dramatisation to inhabit a space that is uniquely the film's own.

Whatever you call it, this is unquestionably one of the films of the year.

Rating: 9/10