Hollywood’s penchant for remaking international films often sparks debate, and the 2004 American version of “Shall We Dance,” sometimes referred to as “Shall We Dance Pelicula” by Spanish speakers, is a prime example. Directed by Peter Chelsom, this adaptation steps into the shoes of Masayuki Suo’s acclaimed 1996 Japanese film of the same name. While not inherently flawed, the American “Shall We Dance” inevitably invites comparison, and it’s in this contrast that its shortcomings become apparent. The subtle charm and nuanced storytelling that defined the original are arguably lost in translation, resulting in a film that, while watchable, lacks the captivating freshness of its predecessor.
One of the central criticisms of the American remake lies in its altered tone and pacing. The original Japanese film delicately unfolded its narrative, allowing the audience to gradually immerse themselves in the world of ballroom dance and the protagonist’s quiet transformation. In contrast, the American “Shall We Dance Pelicula” adopts a more conventional Hollywood approach, with a faster pace and less emphasis on subtlety. This shift in style impacts the overall viewing experience, making the adaptation feel somewhat heavy-handed compared to the light and captivating nature of the Japanese version. The editing, particularly during the crucial dance competition sequences, further contributes to this feeling. Where the original film showcased the beauty and precision of dance, the remake’s editing choices sometimes appear clumsy, detracting from the intended enjoyment and raising questions about the filmmakers’ vision for these pivotal moments.
Richard Gere takes on the lead role, portraying a man drawn into the world of dance, but his portrayal differs significantly from the character in the original film. While Gere’s versatility is undeniable, as evidenced by his performance in “Chicago,” his intrigue with dance in “Shall We Dance Pelicula” feels less organic and believable than his Japanese counterpart. Furthermore, the film explores the dynamic between Gere’s character and his wife, Beverly, played by Susan Sarandon. The narrative hinges on the husband’s secret dance lessons and the ensuing marital tension. However, the portrayal of this aspect feels somewhat culturally skewed. The original film subtly suggested cultural differences in marital expectations, where a Japanese wife might exhibit a different response to a husband’s hidden activities compared to an American wife. This nuance seems diluted in the remake, potentially weakening the believability of the characters’ reactions and motivations within the American context.
Jennifer Lopez’s performance as Paulina, the dance instructor, is a point of relative strength in “Shall We Dance Pelicula.” She embodies a professional demeanor and imparts dance knowledge effectively to her students. However, the on-screen chemistry between Lopez and Gere fails to ignite any significant sparks, which is crucial for a film centered around the transformative power of dance and personal connection. Susan Sarandon, as Beverly, delivers a more understated performance, which, in this instance, works to her advantage, offering a more believable portrayal of a wife grappling with suspicion and uncertainty. In contrast, Stanley Tucci’s character is often perceived as irritating, and Lisa Ann Walters, as Bobbie, is given limited scope to develop her role.
For those who have experienced the American “Shall We Dance Pelicula,” venturing into the original 1996 Japanese film is highly recommended. A direct comparison reveals the subtle yet significant differences in storytelling, character development, and overall tone. While the American version offers a familiar Hollywood rendition of the story, it’s the original Japanese “Shall We Dance” that truly captures the heart and nuanced beauty of finding joy and transformation through dance.
