My journey into understanding Japan started unexpectedly in college with a friend named Kumiko. Before her, my image of Japan was shaped by fantastical kaiju films and anime – all spectacle and noise, lacking real substance. Japan felt like a vibrant but unreal backdrop, a canvas for exaggerated cartoons. Kumiko changed that. Her warmth and generosity revealed a real Japan, inhabited by genuine people. She introduced me to Japanese words and gifted me my first Godzilla toy, a Mechagodzilla. We even shared a dance once at an International Club event, a simple Bollywood rhythm that sticks in my memory.
These personal moments come to mind when I think about the film Shall We Dance?. Kumiko lent it to me during college break, and it was a revelation – one of the first non-fantasy Japanese films I experienced. It deeply resonated with me and even influenced a movie review I later wrote. Years before I lived in Japan and joined a dance club, or visited Kumiko’s family, this film offered a glimpse into a different facet of Japanese life. Even without these personal connections, Shall We Dance? remains a compelling and heartwarming movie, particularly for those interested in Dance In Japanese culture.
Unlike typical Hollywood dance movies, Shall We Dance? doesn’t use dance to spark romance. Instead, it explores how dance can disrupt and then revitalize a stagnant marriage. It’s not about troubled youth finding discipline through dance; the focus is on middle-aged characters seeking passion in their routine lives. The film gently touches on the cliché of self-discovery through expression, but grounds it in a uniquely Japanese context.
The story centers on Shohei Sugiyama, a businessman who seems to have it all: a stable job, a family, a house. Yet, this achieved dream feels hollow. His days are monotonous; he commutes numbly and comes home to an uncommunicative silence. Life has lost its color.
Then, during his train commute, he notices Mai Ishikawa at the window of a ballroom dance studio. He’s instantly captivated. His daily train rides become focused on glimpsing her. Despite societal norms in Japan that might look down on men taking dance lessons, Shohei impulsively signs up for classes. His initial motivation isn’t a love for dance in Japanese culture, but an infatuation with Mai. He keeps his dance classes secret from his wife and colleagues, disappearing every Wednesday evening.
However, Mai is unimpressed by Shohei’s advances, seeing his interest as superficial and not rooted in genuine appreciation for dance itself. Determined to prove her wrong and perhaps to genuinely find something more in his life, Shohei commits to learning ballroom dance. In this process, he discovers a genuine passion for it. But his secret life doesn’t stay hidden forever. His wife, suspecting something, hires a private investigator. Now, Shohei risks losing everything he has built, all because of his newfound love for dance in Japanese style.
While the plot summary might sound dramatic, Shall We Dance? is often lighthearted and charming. It delicately balances humor with poignant observations about the emptiness of achieving societal expectations and the cracks in marriages built on silence. The film subtly critiques the rigid aspects of Japanese culture, especially concerning personal expression and breaking from routine.
The characters are key to the film’s appeal. Koji Yakusho portrays Shohei with a quiet empathy. He embodies a man lost in the routine of life who rediscovers vitality through dance in Japanese ballroom. Anyone who has tried to learn ballroom dance will relate to Shohei’s initial awkwardness and eventual joy. On the other extreme is Naoto Takenaka as Tomio Aoki, Shohei’s eccentric coworker. Aoki is a wildly enthusiastic Latin dance lover, complete with a wig, who embodies dance madness. Takenaka’s performance is delightfully over-the-top, showcasing the sheer joy dance can bring, even if it bewilders those around him. Eri Watanabe as Toyoko, Shohei’s energetic and spirited dance partner, adds another layer of vibrancy to the ensemble, earning awards for her performance.
Tamiyo Kusakari plays Mai Ishikawa, the initially cold and competitive dance instructor who needs to learn to soften. While her portrayal is sometimes seen as reserved, she conveys a sense of dignity and poise. Interestingly, Kusakari’s role led to her marriage with the film’s director, Masayuki Suo.
A central theme is the importance of pursuing art for its own sake. While Shall We Dance? includes a dance competition, winning isn’t the main goal. The competition serves as a catalyst for Shohei’s dance journey and his partnership with Toyoko, with Mai eventually becoming their coach. Unlike many American dance films that focus on flashy moves and spectacle, Shall We Dance? presents dance in Japanese ballroom as a source of genuine human connection and joy, not just a display of athleticism. The focus is on the emotional and personal growth that dance fosters.
However, a notable critique of Shall We Dance? is its handling of Shohei’s marriage. While his relationship with his wife, Masako, is acknowledged, it often feels secondary to his dance life and his connections with Mai and Toyoko. Hideko Hara portrays Masako well as a wife feeling neglected and confused. Yet, her emotional journey is somewhat sidelined. The film’s climax focuses more on Shohei’s potential final encounter with Mai than on his reconciliation with Masako. It gives the impression that Shohei’s fleeting connection with Mai is given more weight than his long-term commitment to his wife. Masako remains largely outside of Shohei’s dance world and seems primarily there to ultimately support his self-discovery, rather than having her own feelings fully explored. Shohei never confesses to Masako that his dance journey began with an attraction to Mai, and their reconciliation feels somewhat functional, almost as a way to reignite Shohei’s dance passion rather than a deep emotional reconnection. This somewhat superficial treatment of the marital relationship is arguably the film’s biggest weakness.
Despite this, Shall We Dance? shines in many aspects. The music, with its European and Italian-esque melodies (perhaps featuring an accordion?), adds a layer of warmth and feel-good charm. While dance music is present, the film avoids becoming a showcase of pop songs. The focus remains on the dance in Japanese ballroom itself and the interactions between characters.
As someone drawn to Japanese culture, Shall We Dance? is a reminder that Japan is far more than just the stereotypical images of monsters, ninjas, samurai, or anime robots. It’s a country of real people, meaningful friendships like the one I had with Kumiko, and diverse artistic expression. Shall We Dance? extends an invitation to Western audiences to experience a different, more nuanced side of Japan through a beautifully crafted and heartfelt story. It’s an invitation I wholeheartedly echo.
