In my early college days, navigating the exciting yet daunting transition, I had the good fortune of meeting Kumiko. She became my first genuine Japanese friend, broadening my limited understanding of Japan, which until then was largely shaped by kaiju movies and a touch of anime. My perception was a whirlwind of special effects and animated action, lacking any real-world grounding. Japan, before Kumiko, was more of a fantastical, cartoonish landscape filled with chaos and vibrant noise, but devoid of authenticity and relatable human experiences.
Kumiko, with her infectious smile, cheerful laughter, and boundless kindness, revealed to me a Japan that was far from a mere sci-fi backdrop. It was a place inhabited by real, warm-hearted individuals. She introduced me to basic Japanese words (I fondly remember her teaching me “risu” for “squirrel”) and gifted me my first Japanese Godzilla collectible – Mechagodzilla 3, Kiryu, from the movie Godzilla Against Mechagodzilla (2002). We even shared a dance during an International Club event, moving and clapping to the rhythm of Bollywood music.
These simple memories are intertwined with my thoughts on Shall We Dance?. It was during those college years that Kumiko lent me this film. Watching it with my family during a break, it stood out as one of the first non-fantasy Japanese movies I had seen. It profoundly impacted me and even influenced a movie review I later wrote for a local newspaper about the 2004 American remake. Long before I lived in Japan, joining a dance club, or visiting Kumiko’s family, I experienced this charming cinematic piece. Now, reflecting on Shall We Dance?, these memories resurface, enhancing my appreciation for a movie that stands strong even on its own merits.
Alt text: Koji Yakusho portraying Shohei Sugiyama in Shall We Dance Japanese film, looking thoughtful in a dance studio.
Unlike typical Hollywood dance films, Shall We Dance Japanese takes an unconventional path. Dance isn’t the catalyst for romance; instead, it nearly disrupts a marriage. There are no rebellious teenagers finding discipline through dance routines; in fact, children are hardly present. The main characters are middle-aged, and the core theme revolves around rekindling passion and vitality in a life that has become routine, while embracing personal expression in its diverse forms.
The narrative centers on Shohei Sugiyama, a middle-aged businessman who appears to have achieved the conventional markers of success: a stable job, a devoted wife and daughter, and a house acquired after years of saving. He seems to care for his family, always returning home directly from work. However, these accomplishments have left him feeling hollow. His commute to work is a monotonous routine, and at home, he collapses into bed, disconnected from his wife. Life has lost its spark.
During his mundane train commute, Shohei notices Mai Ishikawa gazing out of a ballroom dance studio window. He is instantly captivated. Day after day, he looks for her on the train, drawn to her presence. Despite societal views on dance, he enrolls in classes, not out of a passion for dance itself, but because of his fascination with Mai. He keeps his dance classes secret from his wife and colleagues, disappearing every Wednesday evening. Mai, however, rejects Shohei’s advances, disappointed that his interest in dance stems from infatuation rather than genuine appreciation for the art. Determined to prove his sincerity, Shohei immerses himself in learning ballroom dance, developing a genuine love for it. But his secrecy leads his wife to hire a private investigator, putting his entire life at risk.
Alt text: Tamiyo Kusakari as Mai Ishikawa in Shall We Dance Japanese movie, a poised ballet dancer turned ballroom instructor.
While the plot summary might sound dramatic, it merely hints at the heartwarming and often humorous nature of Shall We Dance Japanese. The film delves into Shohei’s inner conflicts and their impact on his family. Beneath the lighthearted tone, it subtly critiques the disillusionment that can follow achieved dreams, the cracks in communication within marriages, and the rigid aspects of Japanese culture.
Despite these complex themes, the characters are endearing. Koji Yakusho, known for his role in 13 Assassins, portrays Shohei with great empathy, depicting a man rediscovering life through dance. Viewers familiar with learning ballroom dance will relate to Yakusho’s portrayal of initial awkwardness and eventual enthusiasm. Naoto Takenaka, a prolific Japanese actor seen in Swing Girls and RoboGeisha, delivers a memorable performance as Tomio Aoki, Shohei’s eccentric coworker consumed by Latin dance. Takenaka’s over-the-top portrayal of dance passion provides both humor and inspiration. Eri Watanabe, as Shohei’s energetic dance partner Toyoko, also shines, earning an award for her performance.
Mai Ishikawa, the initially aloof dance instructor, represents the cliché of a competitive dancer learning to loosen up. While ballet dancer Tamiyo Kusakari’s portrayal of Mai is reserved, she conveys a sense of dignity. Interestingly, Kusakari married director Masayuki Suo after filming Shall We Dance Japanese.
A central theme is enjoying art for its own sake. While the film includes a dance competition, winning isn’t the primary focus. The competition serves to motivate Shohei’s dance journey and his partnership with Toyoko, with Mai offering guidance. Unlike many American dance films, Shall We Dance Japanese avoids flashy moves and spectacle. Dance is presented as a source of joy and connection, not just a display of athleticism.
Alt text: Ballroom dance scene from Shall We Dance Japanese film, showcasing the elegance and warmth of social dancing.
However, Shall We Dance Japanese could have explored Shohei’s relationship with his wife, Masako, more deeply. Hideko Hara delivers a nuanced performance as Masako, but her character often feels secondary to the dance storyline and Shohei’s interactions with Mai and Toyoko. The film’s climax emphasizes Shohei’s potential last meeting with Mai over his reconciliation with Masako, suggesting a misplaced priority. Masako remains largely disconnected from Shohei’s dance world and seems primarily to exist to ultimately support Shohei’s self-discovery. Shohei never reveals to Masako that his dance passion was initially sparked by attraction to Mai. Their reconciliation appears as much about reigniting Shohei’s dance interest as it is about reconnecting with his wife. This somewhat superficial treatment of Shohei and Masako’s marriage is arguably the film’s main weakness.
Despite this, Shall We Dance Japanese offers many strengths. The music, with its European influences, adds a layer of warmth to the film. The soundtrack enhances the feel-good atmosphere without overshadowing the characters and dance. The focus remains on the dance itself and the relationships between characters.
As I anticipate my return to Japan, Shall We Dance Japanese resonates even more. It reminds me of the depth and diversity of Japan beyond common stereotypes. It’s a country of wonderful people, like my friend Kumiko, and rich artistic expression. Shall We Dance Japanese extends an invitation to Western audiences to experience a different facet of Japan through a well-crafted and heartfelt story. I wholeheartedly echo that invitation.
