On Saturday, Loew Auditorium will be showing "Shall We Dance?" -- Masayuki Suo's charming film about the Japanese taboos of ballroom dancing.
Although subtitled, "Shall We Dance?" is definitely worth a viewing. The movie begins with a short narrative explaining public displays of affection in Japan -- even between a husband and wife -- are considered scandalous, and the idea of two unmarried people holding each other is "beyond embarrassing."
The movie then introduces the viewer to Sohei Sugiyama (Koji Yakusho), a Japanese businessman who, although content with his life, is looking for a little excitement. Every day on his train ride home, he presses his head against the train's window, watching a beautiful, mysterious woman (Mai Kishikawa, played by Japanese ballerina Tamiyo Kusakari) at a dance school looking forlornly toward the city.
Finally, one day he decides to investigate the school to see what he is missing. What he finds is the joy of ballroom dancing, the excitement of new friends, the intrigue of a gorgeous woman and the pain of a society's restrictive culture.
"Shall We Dance?" does not spend its entire length on Sugiyama and Japanese culture. The film also incorporates sideplots into the story which, instead of detracting from the story, manage to enhance it. There are a number of notable scenes involving the supporting cast.
For example, one sideplot involving a latin dancer named Tomio Aoki (played perfectly boisterously by Naoto Takenaka) is simply hilarious. Aoki's mannerisms and overall quirkiness create a bond with the audience. Although the initial reaction to him is one of confusion and amazement, the audience eventually learns to sympathize with him and actually cares about the outcome of his problems.
Even disregarding Aoki's problems, he draws so many laughs that he is a noteworthy supporting character. Aoki is so memorable that it is not uncommon to see recent audience members mimicing him upon leaving the theater. On that note, keep watch for the bathroom scenes and his dance numbers.
Of course, the movie centers around Sugiyama, his marital difficulties and his relationship with Kishikawa, where the movie really succeeds. The audience identifies with him as his relationship with Kishikawa grows from an interest in her exquisite exterior to a realization about of his own problems with his wife. Kishikawa grows too, and by the end of the film, she becomes well-adjusted and learns to confront her mistakes involving a previous dance competition.
Through Kishikawa and ballroom dancing, Sugiyama learns to overcome the monotony of his typical Japanese-businessman lifestyle and conquer his own version of a mid-life crisis. Although Western viewers do not live with Sugiyama's social taboos, they are still able to understand the problems with which he deals.
It is difficult to watch this movie without comparing it to "Strictly Ballroom," a remarkable Australian film about ballroom dancing and the drama that surrounds it. Although both are splendidly witty, "Shall We Dance?" is not as surreal and enjoys a more meaningful script. Additionally, "Shall We Dance?" spends more time creating a window into Japanese culture than exploring frivolous romances.
Despite the movie's predictable ending, the story is so flawlessly woven that it is difficult to leave the theater without a smile or trying to replicate Aoki's dancing style or unique gait.
A dance instructor in the movie states, "Dance is more than just the steps. Feel the music and dance for sheer joy." Director and writer Masayuki Suo is definitely commenting on more than just dancing; he is remarking about his own film.
