In the early 2000s, amidst the whirlwind of college life, an unexpected friendship blossomed with Kumiko, my first Japanese friend. Before her, Japan existed in my mind as a vibrant but fantastical realm, populated by kaiju and anime characters – exciting, yet detached from reality. Kumiko, with her infectious smile and boundless warmth, revealed a different Japan, a place grounded in genuine human connection. She shared snippets of her language, gifted me a Mechagodzilla toy, and even pulled me into a Bollywood dance during an International Club event. These simple memories are intertwined with my experience of Shall We Dance?, a film Kumiko introduced me to during those formative college years. Watching it with my family, it was a revelation – one of the first non-fantasy Japanese movies I had seen. It left a lasting impression, even influencing a review I later penned for a local newspaper about the American remake. Long before I lived in Japan and joined a dance club myself, or visited Kumiko’s family, this heartwarming film offered a gentle glimpse into a different world. These recollections enrich my viewing of Shall We Dance? even now, but the film’s charm stands strong on its own merit, making it a must-watch even without personal nostalgia.
Unlike typical Hollywood dance movies, Shall We Dance? doesn’t use dance to ignite romance; instead, it explores how dance can reignite a passion for life, even within the confines of a seemingly stable marriage. It’s not about troubled youths finding discipline on the dance floor, but about middle-aged individuals rediscovering themselves. The film gently unpacks themes of finding joy in the ordinary, embracing personal expression, and navigating societal expectations.
The story centers on Shohei Sugiyama, a businessman who seemingly has it all: a secure job, a loving wife and daughter, and a home. Yet, beneath the veneer of success, Shohei feels a profound emptiness. His daily routine is机械的 (mechanical), his evenings at home lack connection. Life feels pointless. However, his monotonous commute is disrupted when he spots Mai Ishikawa, a captivating woman gazing out the window of a ballroom dance studio. Intrigued, Shohei becomes fixated on her. Despite societal norms that might frown upon such pursuits, he impulsively signs up for dance classes, driven by an initial infatuation with Mai. He keeps his new Wednesday night activity a secret from his wife and colleagues. Mai, however, is unimpressed by Shohei’s superficial interest, desiring a partner who dances for the love of the art itself. Determined to prove his sincerity, Shohei immerses himself in learning ballroom dance, discovering a genuine passion for it. But his clandestine dance lessons don’t remain secret for long. His wife, Masako, hires a private investigator, and Shohei’s hidden world threatens to collide with his established life, potentially jeopardizing everything.
While the premise may sound dramatic, Shall We Dance? is a surprisingly lighthearted and endearing film. It delicately balances humor with poignant observations about the disillusionment that can accompany achieving societal expectations, the fractures in communication within marriages, and the rigidities of Japanese culture.
Despite these deeper themes, the characters are consistently engaging and often humorous. Koji Yakusho (Koji Yakusho), known for roles like the samurai leader in 13 Assassins, portrays Shohei with warmth and vulnerability, capturing the journey of a man rediscovering himself through dance. His initial awkwardness on the dance floor is relatable, and his eventual enthusiasm is infectious. In stark contrast, Naoto Takenaka, a ubiquitous figure in Japanese cinema (Swing Girls, RoboGeisha), embodies the flamboyant Tomio Aoki, Shohei’s coworker. Takenaka’s performance as a wig-wearing, Latin dance fanatic is hilariously over-the-top, showcasing the sheer joy dance can bring, even if it bemuses those around him. Eri Watanabe, as Toyoko, Shohei’s spirited and energetic dance partner, adds another layer of vibrancy, earning awards for her portrayal.
Mai Ishikawa, played by ballet dancer Tamiyo Kusakari, embodies the archetype of the initially aloof and competitive dancer who needs to learn to soften. While Kusakari’s performance is understated, she conveys a quiet dignity. Interestingly, her role in Shall We Dance? led to her marriage with the film’s director, Masayuki Suo.
A central theme of Shall We Dance the movie is the intrinsic value of art, pursued for its own sake. Like many dance films, it culminates in a competition, yet winning is secondary to the personal journeys of the characters. The competition serves as a catalyst for Shohei’s dance development and his partnership with Toyoko, with Mai acting as their coach. Notably, Shall We Dance? diverges from American dance films by prioritizing the beauty and human connection of dance over flashy moves and spectacle. Dance is presented as a source of joy and warmth, not mere athleticism set to music.
Alt Text: Koji Yakusho as Shohei Sugiyama leads Tamiyo Kusakari as Mai Ishikawa in a ballroom dance pose in Shall We Dance?
However, a notable critique of Shall We Dance? lies in its treatment of Shohei’s marriage. While Masako, played by Hideko Hara, is present, her perspective often feels secondary to Shohei’s dance journey and his relationships with Mai and Toyoko. The film’s climax focuses more on Shohei’s potential farewell to Mai than on his reconciliation with Masako. This prioritization suggests a fleeting connection might hold more weight than a lifelong commitment. Masako remains largely excluded from Shohei’s dance world, and her character often seems designed to ultimately endorse Shohei’s self-discovery, rather than being a fully realized character with her own emotional arc. Shohei never fully discloses to Masako that his dance passion was initially sparked by attraction to Mai. Even their reconciliation feels somewhat instrumental, primarily serving to reignite Shohei’s passion for dance after he briefly abandons it. This somewhat superficial portrayal of Shohei and Masako’s marital relationship is arguably the film’s weakest point.
Yet, focusing solely on this aspect overlooks the film’s many strengths. The soundtrack, with its European-inspired melodies and hints of Italian flair – was that an accordion? – enhances the film’s feel-good atmosphere. The music complements the dance sequences without overwhelming them, keeping the focus on character interactions and the dance itself, not manufactured pop anthems.
As I anticipate my own return to Japan soon, Shall We Dance? resonates anew. It serves as a beautiful reminder of the multifaceted nature of Japan, extending beyond stereotypes of monsters, ninjas, or anime robots. It is a country filled with warm, genuine people, like my friend Kumiko, and a rich tapestry of artistic expression. Shall We Dance the movie extends an invitation to Western audiences to experience a different facet of Japan through a well-crafted and deeply heartfelt story. It’s an invitation I wholeheartedly echo.
Alt Text: Koji Yakusho as Shohei Sugiyama smiles while practicing a dance step with Eri Watanabe as Toyoko in Shall We Dance?
