When Steve, at the tender age of 8, made a promise to Lisa for a reunion four decades later at Marilyn Hotchkiss’ Ballroom Dancing & Charm School, it set the stage for an incredibly improbable, yet strangely compelling narrative. Fast forward to 2005, Steve, now 48, is on a highway headed to that very rendezvous. If this premise holds your attention, you’re in for a uniquely quirky cinematic ride, much like the unexpected journey of crafting this very review.
The core concept itself raises eyebrows: dedicating forty years to a childhood schoolyard promise? Perhaps those unfamiliar with the world of ballroom dancing might find this dedication peculiar. While rhythm might have been part of elementary school – think less elegant waltzes and more enthusiastic triangle ringing in a rhythm band – the refined world of ballroom dance seems a far cry from childhood whims.
Steve’s journey takes a dramatic turn en route to his destined meeting. A car crash, witnessed by Frank (Robert Carlyle), a bakery truck driver, becomes the catalyst for a series of flashbacks and confessions. Frank, a Good Samaritan, calls for help and accompanies Steve to the hospital. Amidst the sirens and medical urgency, Steve’s primary concern remains Lisa. “I made this appointment almost 40 years ago! I promised Lisa I’d be there!” he repeatedly exclaims, highlighting the almost comical dedication to this long-held promise.
Frank, burdened by his own grief following his wife’s suicide, finds himself drawn into Steve’s world. He makes a promise to Steve: he will attend the Marilyn Hotchkiss reunion and search for Lisa. This promise leads Frank into the somewhat bizarre world of the dance school reunion, where he awkwardly inquires about Lisa, only to find that she may not have taken the forty-year appointment quite as seriously. Adding another layer of eccentricity, Frank encounters Randall Ipswitch (Donnie Wahlberg), who, in a protective rage over his half-sister Meredith Morrison (Marisa Tomei), warns Frank to keep his distance, even resorting to deflating Frank’s bakery truck tires.
One can’t help but ponder if a place exists, in this reality or any adjacent one, where “Marilyn Hotchkiss’ Ballroom Dancing & Charm School” operates within the realm of plausible storytelling. It certainly stretches the boundaries of lived experience for many. Perhaps it’s a far cry from memories of local dance academies, like the Thelma Leah Rose Ballroom Dancing Academy. There, one might have learned the foxtrot, waltz, mambo, and other dances – perhaps with questionable skill, as some might attest.
While dance classes might be a childhood memory for some, the notion of eight-year-olds making and adhering to forty-year reunion plans feels decidedly fantastical. Childhood interactions are often more characterized by playground dynamics than long-term commitments. If dance classes were part of the curriculum, perhaps it was in preparation for school proms, with instructors emphasizing appropriate “daylight” between dance partners – a far cry from the decades-long anticipation depicted in the movie.
The film is populated with a talented ensemble cast. Mary Steenburgen embodies the heir to the Hotchkiss legacy, while the reunion attendees include familiar faces like Sean Astin, David Paymer, Adam Arkin, and Sonia Braga. Marisa Tomei brings warmth to the character of Meredith, who, despite her overprotective half-brother, recognizes Frank’s vulnerability and attempts to offer solace. As for Lisa, the object of Steve’s forty-year yearning? When she finally appears, she makes an impression. In the style of classic, understated critique, it’s safe to say there wasn’t excessive emotional display upon her reveal.
In essence, “Marilyn Hotchkiss Ballroom Dancing & Charm School” presents a whimsical, if improbable, tale of long-held promises, unexpected connections, and the enduring, if sometimes absurd, power of memory and nostalgia, all set against the backdrop of a ballroom dancing reunion.
