In the early 2000s, as I navigated the bewildering transition into college, I had the good fortune of meeting Kumiko. She became my first genuine Japanese friend, broadening my limited perception of Japan, which had been largely shaped by kaiju movies and a touch of anime. Before Kumiko, Japan was a vibrant, fantastical backdrop filled with cartoon chaos and dazzling lights, but it lacked a sense of reality or human connection. Kumiko, with her radiant smile, infectious laughter, and boundless generosity, revealed a different Japan – a place inhabited by real, warm people. She introduced me to Japanese words, taught me “risu” for “squirrel,” and gifted me my first Japanese Godzilla toy, Mechagodzilla 3, Kiryu, from Godzilla Against Mechagodzilla (2002). We even shared a dance once at an International Club event, moving to the energetic rhythms of Bollywood music.
These seemingly ordinary memories are significant because I can’t discuss Shall We Dance? without thinking of Kumiko. During those college years, she lent me this film, and I watched it with my family during a break. It was among the first non-fantasy Japanese movies I had seen, leaving a lasting impression and influencing my later review of the 2004 American remake for a local newspaper. Long before I lived in Japan, joined a dance club there, or visited Kumiko’s family, I experienced this heartwarming Japanese film. These recollections intertwine as I reflect on Shall We Dance? today, but even without these personal ties, the movie stands strong as a compelling cinematic experience.
Alt text: Koji Yakusho embodying Shohei Sugiyama in Japanese Shall We Dance, a man rediscovering life through dance.
Unlike typical Hollywood dance movies, Shall We Dance? doesn’t use dance to spark romance between lovers; instead, it explores how dance can nearly disrupt a marriage. There are no clichéd narratives of troubled youths finding discipline through dance. In fact, children are scarcely present; the central figures are middle-aged adults. The film delves into the theme of reigniting passion and vitality in a life that has become routine, and embracing diverse forms of self-expression, provided they are authentic.
The narrative centers around Shohei Sugiyama, a middle-aged businessman who has achieved the conventional markers of success: a stable job, a devoted wife and daughter, and homeownership. He appears to care for his family, always returning home directly from work. Yet, these accomplishments have left him feeling unfulfilled. His daily commute is a monotonous cycle, and at home, he retreats to bed, detached from his wife. Life seems devoid of purpose.
However, his routine is disrupted one day on his train commute when he notices Mai Ishikawa gazing out of a ballroom dance studio window. Intrigued, Shohei becomes captivated by her presence. Each day, he looks for her on the train, drawn to her enigmatic allure. Despite societal perceptions of dance as frivolous, he decides to join the dance class, driven by his fascination with Mai, not by an inherent love for dance itself. He keeps his dance classes a secret from his wife and colleagues, disappearing every Wednesday evening.
Alt text: Tamiyo Kusakari portraying Mai Ishikawa in Japanese Shall We Dance, a poised ballroom dance instructor.
Mai, however, rebuffs Shohei’s advances, disappointed that his motivation stems from infatuation rather than a genuine appreciation for dance. Determined to prove his sincerity, Shohei immerses himself in learning ballroom dance, discovering a genuine passion for it in the process. Meanwhile, his wife, Masako, suspecting infidelity, hires a private investigator to follow him. Shohei’s secret life begins to threaten the stability of his marriage and family.
While the plot outline might suggest a serious drama, Shall We Dance? unfolds as a heartwarming and often humorous film. It subtly examines the disillusionment that can accompany achieved dreams, the communication breakdowns within marriages, and the restrictive aspects of Japanese culture.
Despite these complex themes, the characters bring a lightness to the story. Koji Yakusho, known for his role in 13 Assassins (2013), portrays Shohei with empathy, capturing the journey of a man rediscovering himself through dance. Anyone who has attempted ballroom dance will relate to Shohei’s initial awkwardness and eventual enthusiasm. Naoto Takenaka, a ubiquitous figure in Japanese cinema (Swing Girls [2004], RoboGeisha [2009]), delivers a memorable, over-the-top performance as Tomio Aoki, Shohei’s wig-wearing, Latin dance-obsessed coworker. Aoki’s unbridled passion for dance, though comical, is a source of joy and bewilderment to those around him. Eri Watanabe, as Toyoko, Shohei’s energetic and spirited dance partner, won an award for her vibrant performance.
Alt text: Naoto Takenaka as Tomio Aoki in Japanese Shall We Dance, a flamboyant character embodying dance passion.
Tamiyo Kusakari as Mai Ishikawa embodies the cliché of the initially aloof competitor who learns to soften. Although Kusakari’s portrayal is somewhat reserved, she conveys a sense of dignity. Interestingly, she married director Masayuki Suo after filming.
A central theme emphasizes the intrinsic value of art, yet, like many dance films, a competition is featured, though winning is not the primary focus. Instead, the competition serves as motivation for Shohei to deepen his dance skills and collaborate with Toyoko, while Mai coaches them. Unlike American dance movies that often prioritize flashy moves and spectacle, Shall We Dance? presents dance as a source of warmth and joy, not just a display of athleticism.
Despite my appreciation for Shall We Dance?, I find the portrayal of Shohei’s marital relationship somewhat wanting. While Masako’s role is acknowledged, and Hideko Hara delivers a nuanced performance as the neglected wife, 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 final meeting with Mai than on his reconciliation with Masako. This subtly suggests that Shohei’s fleeting connection with Mai holds more weight than his lifelong commitment to his wife. Masako remains largely detached from Shohei’s dance world and seems primarily positioned to encourage Shohei’s self-discovery, rather than being treated as an equal partner with valid emotional needs. Shohei never confesses to Masako that his dance passion was initially sparked by attraction to Mai, and their reconciliation appears as much about reigniting Shohei’s dance interest as it is about genuine marital reconnection. This somewhat casual treatment of Shohei and Masako’s relationship is, in my view, the film’s main weakness.
However, the film’s strengths are abundant. The music, with its European flavor and hints of Italian influence, adds a layer of warmth and charm. The soundtrack, possibly featuring an accordion, enhances the feel-good atmosphere. While dance sequences are musically accompanied, the film avoids becoming a superficial showcase of pop hits, keeping the focus on the dance itself and character interactions.
As I anticipate my return to Japan soon, Shall We Dance? resonates deeply. It reminds me of the multifaceted reality of Japan, beyond stereotypical images of monsters, ninjas, samurai, or anime robots. Japan is a country of wonderful people, cherished friendships like mine with Kumiko, and profound artistic expression. Shall We Dance? extends an invitation to Western audiences to experience a different facet of Japan through a well-crafted, emotionally resonant story. It’s an invitation I wholeheartedly endorse.
