It’s confession time. As someone deeply entrenched in the world of dance films, particularly ballet, and a devoted follower of the original Save The Last Dance, I was recently aghast to realize I had never formally reviewed Save The Last Dance II. Given my background with pointe shoes, ankle injuries, and an admitted soft spot for dance movies, overlooking this sequel felt like a major oversight. Especially considering my genuine affection for the first Save The Last Dance. So, why the delay in diving into Save The Last Dance II?
The truth, perhaps, is that Save The Last Dance II isn’t a film that readily springs to mind when discussing memorable sequels. It unfortunately lacks the spark and emotional resonance that made its predecessor so impactful. Ironically, despite my preference for the original, I’ve likely seen Save The Last Dance II more often. Its frequent airings on channels like Showtime make it a default viewing option during those groggy mornings when changing the channel feels like an Olympic feat. It’s a film that taunts you with the shadow of the original’s brilliance while simultaneously highlighting your own inertia in not simply turning off the television.
Save The Last Dance II picks up Sara’s journey as she embarks on her studies at Juilliard, now without the boyfriend from the first film. A notable change is the recasting of Sara. Julia Stiles, who embodied Sara in the original, is replaced by Izabella Miko. Miko undeniably possesses a more authentic ballet background, having trained at the prestigious School of American Ballet before transitioning to acting. While Miko’s dance credibility is apparent, she lacks the edgy vulnerability Stiles brought to the role. Miko’s Sara comes across as consistently upbeat, almost to the point of being a different character entirely. The sequel’s Sara, while likable, feels like a diluted version, stripped of the complexities that made her compelling in the first film, resembling a generic, cheerful teen navigating an MTV movie plot.
Upon arriving at Juilliard, Sara encounters the expected tropes: envious classmates, demanding instructors, and quirky roommates. She also crosses paths with Miles (Columbus Short), a guest hip-hop lecturer who recognizes Sara’s talent in hip-hop. A romance blossoms between Sara and Miles. Miles seeks Sara’s help in choreographing his upcoming show, but the formidable Monique Delacroix (Jacqueline Bisset) offers Sara the coveted lead role in Giselle. This pivotal role promises to consume all of Sara’s energy and time, potentially catapulting her to stardom. However, accepting Giselle means abandoning her commitment to Miles, a decision the film portrays as a significant betrayal. This is despite the somewhat illogical premise that a guest lecturer specializing in hip-hop dance would be entirely reliant on a single choreographer.
Izabella Miko in Save the Last Dance 2, performing ballet, highlighting her dance expertise
The original Save The Last Dance championed the idea that Sara could embrace both ballet and hip-hop without choosing. Save The Last Dance II, however, delivers a conflicting message: a choice must be made, seemingly prioritizing the path that aligns with a commercially viable soundtrack. This narrative shift feels disappointingly shallow and undermines the inclusive spirit of the first film. It contradicts the very essence that made the original resonate with audiences.
Despite these shortcomings, I will likely find myself watching Save The Last Dance II again when it inevitably appears on the television schedule. The remote control, after all, can sometimes feel miles away.
