Annette Kellerman Says Rock Doc WE ARE X Is Metal AF
Published at: Oct. 22, 2016, 11:37 a.m. CST by Annette Kellerman
One of the first times I became aware that other countries had their own pop star juggernauts was when Donnie Wahlberg did a duet with Japanese singing sensation Seiko sometime in the late 80's/early 90's. I know what it feels like to be a super fan, and as an ardent 14 year old worshiper of all things NKOTB, I was very aware of any and all news pertaining to my heartthrobs. Though the duo's song, The Right Combination, got very little radio play in the U.S., the collaboration between the two teeny-bop icons was a smashing success in Japan. I also remember reading in my Teen Beat magazine that Allyssa Milano had a thriving musical career and that the Who's The Boss star was even more popular in Japan than she was stateside. Back then, I was perplexed and amazed that such a wave of super stardom and fortune in one country barely translated to the U.S., and even today I still marvel at the prospect. Though globalization in today's world has certainly closed the pop culture gap between the States and other countries with J Pop and other imports finding success worldwide, it is still fascinating to discover that another country has legendary performers who I've never heard of. In WE ARE X director Stephen Kijak once again blows my mind with his introduction to the world of Japanese Prog-rock icons X Japan, their meteoric rise, and their status as metal legends in not only the minds of their devout fans from home, but also rock and roll fans across the globe.
The film begins with the band playing a most triumphant show at the hallowed Madison Square Garden arena. The audience sings along as lead singer Toshi belts out one of their classic hits, and then later the crowd goes wild when drummer/pianist Toshiki stage dives into the adoring throng. It is instantly obvious from the fervent admirers crossing their forearms to create a sea of X's that, although these performers may not exactly be household names here at home, they most definitely have legions of loyal followers. In sharp contrast, subsequent scenes take the audience back to the preparations and soundcheck in the preceding days ahead of their return to NYC's ultimate stage. Branching from there, emotional interviews with band members, stock video and photos from the early days of the band, as well as current day footage of the members tells the incredible story X Japan.
From leader/drummer/pianist Toshiki's account of his father's suicide during his childhood to the brainwashing and subsequent exit of lead singer Toshi in the mid 90's, Kijak weaves various fascinating stories together with endless captivating imagery of the band to create a dazzling history of the super group. If you are unfamiliar with X Japan, imagine a mix between Guns N Roses and Rush with make up and costuming falling somewhere between KISS and Poison. Purveyors of "visual kei", a more theatrical subset of heavy metal likened to Western glam rock, the band became famous not only for their immense musical prowess but also for their flamboyant appearance. Though similar American "hair bands" of the era weren't exactly exalted for their artistic aptitude, X Japan's music perfectly matched their amazing talent and musical mayhem. Even as the band hit the inevitable skids in the late part of the last century, their music was still considered to be the ultimate in the Metal canon. While seeing X Japan reunite again is absolutely overwhelming for their loyal devotees, it makes for a wonderfully satisfying conclusion for Kijak's documentary as well.
Though the film doesn't stray too far from the rockumentary blueprint, Kijak's inclusion of music video-style visuals interspersed with interview footage amps up the film and keeps the tempo racing. WE ARE X has all the bells and whistles of a typical rock doc, from the interview style, archival footage, and even the now-obligatory MSG concert. The quieter more introspective parts of the movie are a nice juxtaposition to the heart pounding musical sequences featured throughout, and Kijak does an excellent job delving deep into the sometimes painful personal stories of X Japan's history which further illustrates the band's cultural significance when tragedies within the group trigger pandemonium among their fanbase. Kijak steers clear of any tales regarding sex and drugs, however accounts of emotional strife abound throughout X Japan's trajectory to the status of rock gods culminating in a well-rounded story of fame and reflection.
With an impressive past slate of music documentaries including A BAND CALLED DEATH (about a black punk rock band in 70's Detroit) and 20,000 DAYS ON EARTH (about Nick Cave's abstract creative process), Drafthouse Films proudly adds WE ARE X to their line up with the film's opening at the Landmark Nuart Theater in L.A. yesterday and a future release of the doc at its Drafthouse cinemas in San Francisco, Austin, and Brooklyn in the coming weeks. So, whether you are intrigued by discovering a pop culture phenomenon you never knew existed, or you are already aware of the X Japan sensation, WE ARE X is a great trip into the world of the legendary Japanese metal icons.
Rebecca Elliott
aka Annette Kellerman
