Netflix’s Death Note: A Misunderstanding of Source Material
Netflix’s live action adaptation of the popular anime and manga series “Death Note” became highly controversial among the anime community when it was announced. Fans of the original speculated as to whether or not the project’s director Adam Wingard could bring justice to a series that to many is considered the pinnacle of animated storytelling. The trailers released several months prior to the movie’s release gave many fans hope that the movie could bring one of the most famous stories in popular culture to a live action medium, but the finished product has given fans of the original, including myself, much to criticize in the way of a good adaptation.
Adam Wingard’s vision of “Death Note” was different from the original, and that is a detriment to the film. In an interview with The Verge, Wingard admits, “I grounded it by taking this complicated story, and rooting it in this idea of a coming-of-age teenage tragic romance.” This, however, is the main problem with the movie. “Death Note” is not about a romance or a tragedy. “Death Note” is the story of a kid who gains the power to kill anyone by simply writing a name in a book and picturing a face. This power corrupts him and he slowly transitions from a hero of justice to someone who kills without hesitation. Netflix’s adaptation ignores this transformation entirely in order to appeal to a more mainstream audience, and the movie suffers because of it.
This is not to say that a different interpretation of “Death Note” would be a waste of time. In fact, it’s setting in America might actually make it a more genuinely interesting film. As an article by Rebecca Sun in The Hollywood Reporter points out, “America’s greatest storytelling strength isn’t its high production value. It’s multiculturalism – access to a wide array of backgrounds and identities, and an ability to find out what happens when they collide.” An interpretation of “Death Note” where themes of racism and racial injustice, or one with even more focus on the idea of America’s identity as the world’s policemen, as the movie briefly hints at, would have been much more interesting. Instead, Wingard chooses to focus mainly on a romance that has zero chemistry, and little relation to the original story.
Aside from Wingard’s inability to find a strong thematic direction for the film, there is plenty to like about the live action “Death Note”. The casting of the movie was generally phenomenal. Willem Dafoe’s voicing of Ryuk was the perfect choice, as he precisely captures the creepiness and looming danger that Ryuk’s presence signals for Light. Keith Stanfield’s performance as L was also an enjoyable addition to the movie. Even though L’s quirks like eating sweets and sitting on top of chairs were seen by many as not easily transferable to a live action film, Stanfield manages to bring his character to life without coming across as awkward.
The soundtrack is also worth mentioning, as it does a lot to hold up the movie. A considerable amount of thought was clearly put into the music and music placement in the film. It is especially visible during the final third when tensions between Light and Mia grow, and the two become visibly more insane. The fast and heavy music during the scenes where L confronts Light also add to the intensity during the movie’s best moments.
Unfortunately, it does not seem possible to call this movie great, and to some, it might even be a stretch to call it good. Wingard’s decision to depart from the core themes of the original while leaving nothing but a half-baked romance in its place takes away a lot from its standing as an adaptation. Wingard may have done well with casting and music choices, but trying to compare Netflix’s adaptation of the original anime series leaves a lot to be desired.