Not the same old song and dance

Watching "Shall We Dance," a 1996 Japanese movie about a man who secretly takes ballroom dancing lessons, was intriguing, especially for its sociocultural revelations; apparently, dancing in public is considered shameful in that country and something that should be practiced covertly to avoid ridicule and a bad reputation. For a relatively simple story, the film was rich in themes and insights, proving to be an effective contrast to many American movies about dancing and dancers. Following are the major CineVerse group talking points:

OTHER MOVIES THIS FILM REMINDS US OF:

• Its remake, Shall We Dance (2004)
• Strictly Ballroom
• Dirty Dancing
• The King and I
• Dance With Me
• Silver Linings Playbook
• Saturday Night Fever

THEMES SUGGESTED IN SHALL WE DANCE INCLUDE:

• Pursuing nonconformity, freedom and individuality in a repressive culture that frowns on public displays of dance and expression and promotes modesty and restraint.
• Voyeurism: Sugiyama watches for a mysterious woman in the window; and we as Westerners are peeking into a window showcasing Far East culture. “We're offered an opportunity to peer through an open window into Japanese society, especially as it addresses issues of intimacy. For those of us who are used to the idea that dancing is an integral part of the cultural fabric, understanding how the Japanese view this activity can cause a shift in perspective,” wrote film critic James Berardinelli.
• The mid-life crisis: how is a middle-aged man going to rekindle his passion and enthusiasm and work his way out of a rut?
• Appreciating and relishing art purely for its own sake, not as a means to an end (consider how Sugiyama at first was eager to take dance classes to get romantically closer to Mai, but later he enjoys dancing for the dancing itself).
• Using art as therapy and panacea
• “The disillusionment of dreams and the brokenness of uncommunicative marriages,” according to Driscoll.

HOW DID THIS FILM DEFY YOUR EXPECTATIONS, AND HOW IS IT ALSO A DEPARTURE FROM OTHER MOVIES ABOUT DANCING?

• This isn’t a typical story about hot young rebellious youth who find love and purpose in dance, as is depicted in Footloose, Dirty Dancing, and Save the Last Dance. Here, we have middle-aged protagonists who are trying to stay young, relevant and expressive despite societal pressures to be passive and conform.
• Blogger Nicholas Driscoll wrote: “Unlike most dance films in America…the leads never learn particularly flashy moves, and dancing is not reduced to just the equivalent of a special effect—pizazz included simply to wow audiences. Instead, dance is shown as something warm and beautiful, bringing people joy, not just gymnastics to a beat.”
• While the plot predictably and ultimately leads to a dance competition, that’s not the payoff or the point of the movie; instead, it’s the journey—not the destination—that is emphasized here. And the most important journeys taken are (a) Sugiyama’s evolving relationship with Mai and (b) Sugiyama following the dance teacher’s advice to “feel the music and dance for sheer joy.”
• Arguably, the ending is anti-climactic: Sugiyama doesn’t end up romantically with Mai, he isn’t paired with her as a dance partner in competition, he doesn’t win the competition, and his reconciliation with his wife seems more driven by his need to continue dancing than to improve their relationship. Instead, the resonance of the ending seems to focus most on a mutual respect and platonic admiration that’s acknowledged between the two dancers.
• Interestingly, the wife’s character is given short shrift here, presumably functioning mainly to advance a subplot of intrigue wherein she is compelled to investigate her husband’s extracurricular activities and be the spoiler of his secret dreams. Considering that Sugiyama is not cheating on her and that Mai doesn’t want an affair, the fact that the married couple’s relationship isn’t romantically reborn by the movie’s conclusion is surprising.