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Review
by Kozo: |
Based on a hugely popular
Japanese manga (and soon anime), Death Note
offers a premise that will likely appeal to disaffected
adolescents everywhere. Death Note supposes
that human lives are snuffed by "Shinigami",
roving ghouls who write human being's names down in
a notebook called - not surprisingly - a Death Note.
Bored Shinigami Ryuk (a CG creation voiced by Shido
Nakamura) leaves his Death Note in a vacant lot because
he's curious about the effect a Death Note will have
on the human world. Luckily - or perhaps not - it's
picked up by Light Yagami (Tatsuya Fujiwara of Battle
Royale), a disenchanted law student who, upon
learning just what the Death Note does, decides that
the supernatural notebook is his key to bringing real
justice to the world. Operating from the anonymity
of his bedroom, Light begins a mass-murder crusade
that stuns the world, and is eventually given the
name "Kira" by his adoring and/or frightened
public.
Meanwhile, the cops
aren't so charitable of Kira's crusade. Though he
only offs purported bad guys, Kira's righteousness
smacks of an unchecked god complex. Immediately, Interpol
is on Kira's tail, led by L, a mysterious detective
who communicates with the cops through a laptop speaker.
On Japan's side, the Kira case is handled by Souichiro
Yagami (Takeshi Kaga AKA Chairman Kaga from Iron
Chef!), a just policeman who just so happens to
be Light's father. Souichiro is dedicated and smart,
but he's a complete moron next to L, who launches
a battle of the wits with Light that threatens to
become legendary. With just one or two moves, L establishes
that Kira makes his home in Japan. With a couple of
extra moves, he begins to deduce just what the rules
are for Kira's killing abilities. L is clearly one
smart guy, but Light is pretty damn crafty himself.
Can Light really beat the local cops, the FBI, Interpol,
and L on his way to becoming the world's new God?
The idea of a single
kid playing God is actually one of the major themes
of the popular manga. In the manga, Light is portrayed
as a brilliant, affluent kid who's better than his
peers - and he knows it. His desire to play God supersedes
any notions of morality, and justice is something
that Light freely defines. The manga Light cares only
about himself, and is willing to sacrifice anyone
and everything in the service of his new Utopia, not
to mention his massive ego. The movie version of Light
makes the character less arrogant, saddling him with
a girlfriend named Shiori (Yu Kashii), and linking
his desire for justice to the realization that the
justice system is flawed.
The creation of personal
issues for Light makes him much more identifiable
and likable than his manga counterpart, though it
partially negates some of the source material's most
interesting themes. Still, the film version compensates
with a few new tweaks to the character, and Tatsuya
Fujiwara gives the character an appropriate air of
malevolence. Light's power clearly corrupts, but it
does so quietly and insidiously, and largely through
Light's ego-threatening cat-and-mouse game with L
and the law enforcement types who are trying to catch
him. L is eventually revealed to be a sweets-loving
Goth kid played by Kenichi Matsuyama, whose quirkiness
is taken directly from the pages of the manga. Matsuyama
apes the character's oddball appearance and behavior
perfectly, making it somewhat easy to believe he's
really a genius detective. Basically, someone this
weird has to be brilliant, otherwise they'd probably
be ridiculed like some sort of circus freak. L is
easily the manga's most likable character, and Matsuyama
goes a long way towards making him likable on film
too.
Still, L's success as
a character is totally due to the manga, and has little
to do with director Shusuke Kaneko's vision or handling.
Despite deviating occasionally from its source material,
Death Note is remarkably faithful to the manga,
and does very little to make the manga's exposition-filled
pages cinematic. The manga is tough to adapt to film
anyway, since it's mainly about Byzantine rules, multi-layered
mind games, and lots and lots of explaining. The exact
rules of the Death Note need to be explained, as do
L's investigations and deductions, Light's scheming
(he talks primarily with Ryuk), and general chatter
on whether or not this whole mass-murder of criminals
thing is really that bad. The themes are interesting,
but after a while, the constant talk can weigh the
viewer down. One would think the director of the latter-day Gamera films would find some room for physical
excitement. No dice. Death Note's excitement
is more or less cerebral, meaning it's better to read
it than it is to watch it.
But even if the manga is
better than the movie, Death Note isn't a waste
of time. Fans of the manga will undoubtedly be intrigued
by the minor differences between manga and movie,
and they're probably sold on the premise anyway. Non-fans
will have to swallow the straight-faced manga silliness
to suspend disbelief - which isn't as easy as it
seems. Ryuk, while enjoyably voiced by Shido Nakamura,
looks exceptionally fake, and Light and L's characters
can be distracting because of their glam bishonen manga looks. Non-fans have to get by the deadpan cheesiness
and really listen to get into the film. If
they do, they can be rewarded. For all its manga-based
silliness, Death Note has an undeniably intriguing
premise, and Light's ways of using the note to one-up
his pursuers can be fascinating. Basically, the Death
Note gives Light the ability to not just kill, but
also control before killing, and the elaborate deaths
and drawn-out plans that he arranges can be darkly
entertaining stuff.
It's the complex rules
and dark revelations that ultimately make Death
Note fun to watch, and towards the end of the
film, Light does start to resemble the charismatic,
selfish,and completely amoral bastard that he is in
the manga. It's a good thing that the character gets
on track, because Death Note doesn't even end
here. The film barely scratches the surface of the
manga's celebrated confrontation between Light and
L, leaving the meat of that conflict to the already-announced
sequel, which will appear in theaters only a few short
months after the first film. Titled Death Note:
The Last Name, the sequel will likely possess
even more exposition and intense cerebral storytelling
than the first film, plus it'll add the character
of Misa (Erika Toda) - a teenybopper popstar who
also possesses Death Note powers - to the already
convoluted mix. Given the usual nauseating behavior
by teenage popstars in Japanese anime and manga, the
addition of a character like Misa to the dark live-action
trappings of the Death Note films sounds like
a bad idea. But if Kaneko and company can even partially
adapt L and Light's battle of the bishonen geniuses, then Death Note 2 should still be
fun stuff. (Kozo 2006)
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