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.
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.