Shall We Dance (1996) Koji Yakusho, Tamiyo Kusakari, Naoto Takenaka. Directed by Masayuki Suo. 118 minutes. Rated PG, Four stars (out of five stars)
Review by Ed Johnson-Ott NUVO Newsweekly www.nuvo-online.com/film/ Archive reviews at http://us.imdb.com/M/reviews_by?Edward+Johnson-ott
Sly, observant and elegant, "Shall We Dance" is a charming story of liberation, the kind of exhilarating freedom one can only achieve by stepping out of the shadows and taking the risk of looking foolish in exchange for a chance at realizing a dream. Director and writer Masayuki Suo focuses on some odd corners of Japanese culture in this gentle comedy, but the messages contained in his subtitled tale are universal.
It all begins with the mid-life crisis of a reserved 42 year old businessman. Shohei Sugiyama (Koji Yakusho) has attained his goals; a nice home, a healthy family and a successful career, but his life feels empty. He trudges dutifully through his days with eyes dulled by sadness. One evening, while taking the train home from work, he catches a glimpse of a young woman staring out the window of a dance studio. Her beauty, and the melancholy look on her face, capture his imagination.
After several days of gazing at her during the ride home, he impulsively leaves the train and creeps up the stairs towards the dance studio. Dancing is viewed with suspicion in Japan, where public displays of affection between even a husband and wife are considered tasteless and shocking. The idea of two unmarried people holding their bodies close together in dance is "beyond embarrassing", the film's introduction explains. Regardless, Sugiyama summons his courage and signs up for dance lessons. Unable to afford individual instruction with the beautiful Mai (ballerina Tamiyo Kusakari), he joins a beginners class and his adventures in this unique little subculture begin.
The denizens of the studio are a peculiar bunch. Sugiyama's classmates are a extremely intense little man who has taken lessons before, and Tanaka, a tall, blobby fellow whose utter lack of grace is matched only by the blissful, childlike smile on his face as he lumbers across the dance floor. The men are taught by Mrs. Takahashi (Eriko Watanabe), a friendly middle-aged matron who notices Sugiyama's fixation with Mai and gently tells him "She's all the sweeter when viewed from afar". Mai gives solo lessons to her male clients with obvious distaste. Dance is everything to the young woman and the amorous intentions of the men draw an icy response.
The most dynamic figure on the dance floor is the amazing Mr. Aoki (Naoto Takenaka). A co-worker of Sugiyama's, Aoki travels through the office in riotous fashion, moving forward stiffly, then pivoting abruptly, with his pelvis virtually leading his body. At the dance studio, Aoki dons an absurd long-haired wig and transforms into a frenzied master of Latin dance, wildly overstating every move as he leers with the expression of a warrior about to attack. Takenaka is hilarious and a delightful scene- stealer.
Director Suo neatly uses comedy to punctuate the wistful story of Sugiyama's quest for satisfaction. His observational style is reminiscent of Scottish director Bill Forsyth's work in the wonderful "Local Hero". Like Forsyth, Suo frames his subjects in a neutral fashion, letting their actions speak for themselves. Watching the men's ungainly efforts to learn the art of dance is at once funny and touching. Both director's maintain a smooth narrative flow, but their primary focus is on vignettes. One of the best scenes in "Shall We Dance" shows Sugiyama practicing his steps in the rain by a train platform, as Mai watches from afar. It's a lyrical moment that typifies the elegant sentimentality of the film.
The reserved nature of Japanese relationships is also a key factor in the story. Sugiyama's wife is pleased to watch her husband blossom, but distressed because she doesn't know the cause of his change. Rather than simply ask him, she hires a private detective to investigate. Meanwhile, as Sugiyama becomes better acquainted with Mai, he looks at his own motives. What is it that drives him to stay near this distant young woman? And what of Mai herself? Mistrust and anger block her from really living. Can she break through her shell and embrace life again?
"Shall We Dance" deals with a lot of weighty issues, but with a light touch. Suo respects his characters, foibles and all, and guides his story with an affectionate and ethical hand. The result is one of the most accessible, entertaining and heart-warming films to come along in a quite a while. It's hard to imagine anyone leaving the theater after "Shall We Dance" without a smile on their face.
Copyright 1997, Ed Johnson-Ott
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