DICK STEEL And I felt the filmmakers nailed it squarely on the head with the casting of Ken'ichi Matsuyama, more famously known these days as the teen detective L from the Death Note series. In that film he had disappeared behind a stoic and serious demeanour behind a lithe frame, being quite fleet-footed while snacking on sweet food. Here, Ken'ichi again disappears and in more challenging terms, being on opposite sides of the spectrum from the meek to the flamboyant, and if you're not impressed by his L, his turns here would impress as being a consummate character actor capable of fleshing out characters very convincingly. If it's a chameleon actor you're looking for, look no further than Matsuyama.As Negishi, his mushroom cut hairstyle sported fits the character to a tee. A mild mannered sissy nerd, he shuffles his feet from his hometown village to the bright city of Tokyo in the hope of fulfilling his dream of being a trendy pop singer. You know, the one who belts out bubblegum pop tunes about first love and sweet kisses. He lives by the mantra of "No Music No Dream", and inspires his fellow peers to do the same and seize the day. Just so to tell you he's still a straight character despite his effeminate ways, he's attracted to Aikawa (Rosa Kato, who resembles a little like Aoi Miyazaki, who's starring in yet another similar music- based movie in Shonen Merikensack which I am looking forward to). Who wouldn't?But an unexpected opportunity to join a band, he soon finds himself manipulated by his female boss (Yasuko Matsuyuki) into becoming the frontman for the heavy metal band Detroit Metal City (DMC) as Johannes Krauser, the long haired, pale skinned singer from the depths of hell who sings raged filled songs and preaches satanism, hate, anger, murder and rape. He garners a country-wide following filled with rabid groupies, and is more wildly successful as part of the engineered metal band, than trying to strike out on his own as a frivolous pop singer that's a dime a dozen.It's an excellent contrast of characters, but more so, an examination of self and the personas we adopt in different situations. It might even be a classic case of Schizophrenia for Negishi, because as Krauser, he's really good at what he does, and almost comes second nature as that sissy man who had found an avenue to unleash his pent up frustration and hit back at the whole world, and get adored for that as well. Cursing and swearing comes second nature, and he can get really confused at times if his interests got mixed – romancing his lady love who abhors metal music, and satisfying his legion of fans with a public appearance. Unlike the Incredible Hulk within whom Bruce Banner disappears, it's interesting here because Negishi has full conscious control over Krauser, but allows himself to cut loose and live up to that masked persona even if it means having to embarrass the woman he loves.It's about striking a balance between living your dream, and being practical about it. As Krauser, he inspires others into living theirs, even though he doesn't exactly get to do the same. But only because he does what he does best, even though he doesn't exactly subscribe to it. He commands his unwavering fans for whom he inspires, though in some negative ways, but what better than to express one's rage through music and at the concert venues only rather than to hit back in society - we don't see any of the metal fans causing trouble, and the amount of clout one has in influencing his followers to live for the better. It's this realization and awakening that Negishi understands his calling in life, that he cannot live a life that's for selfish personal interest (in throwing away Krauser just so he can pursue his love) over that of the benefit for the masses and those who adore him.It's like a superhero story of sorts as well, where the hero disappears into his sanctuary by having an alter-ego within which he can operate normally without the pressures of expectations. We become somebody else very easily when we have ourselves hidden behind a costume incognito, and can carry out feats which we normally wouldn't do for fear of identity, repercussions and of course shame if something goes wrong. The white face makeup is Negishi's secret formula in transformation from geek to devil, without fear of his family discovering his secret (he tells them he works at a floral shop) and disappointed his parents that he's a preacher for hate, in direct contradiction to the gentlemanly ways he's brought up in.But of course like any other movie, this one is not perfect. There were a number of scenes that were played out purely for laughs, but sometimes fell flat on its face for its repetitive nature. Such as having his boss from hell come trash Negishi's pastel coloured apartment just so that she could awaken the devil in him permanently, and provide for some misunderstanding between Negishi and Aikawa. Or that inexplicable scene of running with his legion of fans for miles before reaching a concert venue. One could actually tell Ken'ichi Matsuyama was panting under that thick makeup and heavy costume.To no surprise, DMC attracted more female fans than the male ones in the screening I attended, despite having metal music blaring that degrades the female of the species, so that can only attest to the magnetism that Ken'ichi has over his fans. It isn't exactly about metal music, nor is it about the comedy here, but it's about self and the masks we all wear. For that, this comes definitely recommended in the dilemmas that we lead our lives under from time to time.

elanorshadowdancer In order to accomplish his dream, to become a fashionable pop music singer, Soichi Negishi leaves his hometown and in Tokyo he studies Music while he makes also friendships with other people of his music delight.Though after his graduation he finds himself as the vocalist of a widely known demonic metal band,called Detroit Metal City. While he tries to find out where he made it all wrong,he learns what it really is to be a musician. This movie is a very good example of Japanese humour based on conflicts. I must confess that to me the story was not that attractive at first but after watching it I saw that I was totally wrong. The story contained a balanced amount of romance,humour and a very good catchword. Not only the shot but also the music was pretty good, and the acting of Ken'ichi Matsuyama was eye catching. I have seen other movies of him and I think that this one is of one his best performances,since he acted such different characters from before. The costumes and stages were pretty successful as well. I am neither a pop lover nor am I a heavy metal fan but I have to admit that I sometimes mutter the main song of the band...

Harry T. Yung Noticing that the only two comments on IMDb are from users who have watched DMC at the TIFF's Midnight Madness, I can't help but regret that I didn't go for it then and there. The sheer atmosphere in the cinema would have multiplied the enjoyment manifold.Both meanings of the word simple are intended in my summary line. First, the plot line is reduced to bare necessities. An innocent country boy Soichi Negichi goes to Tokyo for university ends up being the lead singer of a heavy metal death band. The irony is that his passion is for saccharin-sweet love ballads, which he writes and sings at street corners, very often to a lone audience of a little dog, that is, when he is not in his alter ego Johannes Krauser II, garbed in grotesque costume, complete with long wig and a face painted death-white. Secondly, this Jekyll-and-Hyde protagonist is portrayed by Keniche Matsuyama with exaggerated idiocy (facial expression as well as body language), and it works. Negichi becomes instantly lovable and that goes a long way in gaining the audience's acceptance of the movie, even those not in the targeted age group, as one comment points out.The identity charade is exploited to the fullest in this movie, and successfully so. Those who have read the immensely popular manga also vouch for the movie's authenticity. You just can't praise enough Matsuyama's superb performance. And one does not have to be a heavy metal fan to be swept along by the exciting finale of a musical duel between Soichi and the reigning global heavy metal king Jack II Dark (played lovingly by Gene Simmons of KISS, after which DMC is modelled).There is no need to philosophize the purported probe into the duality human nature or the universality of music. DMC is a movie to be enjoyed, and simple does it.

doug-697 Soichi is a young man who leaves home a wide-eyed innocent with dreams of being a star in a form of sickly-sweet wholesome pop music which he calls "trendy" music, but somehow finds himself getting fame in a violence laden heavy metal band. In real life he's a complete innocent, vaguely reminiscent of a young Jerry Lewis, but when he's in the rock band Detroit Metal City he transforms into the personification of the misogynistic, sociopathic rock star. I've always found Japanese humour as rather broad and this is no exception here, except it entirely works in this movie. Ken'ichi Matsuyama, apparently a star in Japan who sends girls into fits of screaming, does an excellent job here and is entirely convincing either as the innocent young man or as the rock star. In fact, he is achingly hilarious when he's singing the "trendy" music that he loves. There are several moments that will have you convulsed, but I don't wish to give anything away by describing specific scenes, except to say that it's the humour that pushes the movie past the level of the ordinary.However, despite being a comedy the film is completely faithful to the spirit of heavy metal music. This is not Spinal Tap. Unlike Spinal the music in this movie sounds convincing and very much like good rock music. Whenever it comes out on DVD you'll want to turn up the subwoofer!I saw this movie at the Toronto International Film Festival and the crowd I saw it with was very receptive, despite likely not being the target audience for the film. Even the director before the movie said that it premiered the previous night to a very enthusiastic crowd and he joked that he hoped we'd liked it since we seemed so much older. That got a big laugh, but I still was surprised to see so many people past middle age who clearly enjoyed this movie. It was almost certainly the humour and the likability of Matsuyama and the entire cast that was the responsible.This feels like something that almost has to be re-made by Hollywood. However, you should try to see this version first before any watered-down North American version hits the screens.