In 1996, Masayuki Suo‘s heartwarming feature “Shall We Dance?” charmed critics and audiences, receiving additional acclaim following its subsequent international release. Its major success even spawned an American remake starring Richard Gere and Jennifer Lopez. With Suo’s original hit gaining renewed attention thanks to the 4K restoration of the original uncut version and theatrical re-release by Film Movement, it’s the perfect time to revisit what makes this film so enduringly special.
The premise is quite simple. Salaryman Shohei Sugiyama leads a stable life with a steady job, a loving wife and child, and a comfortable home. Even with his clear love for his family, he feels that something is missing, a depression brought on by a longing to fill that personal emptiness. One evening during his commute home, he notices a beautiful woman gazing out the window of a dance studio. Infatuated, he visits the building to find out who she is. There, he learns she is Mai Kishikawa, a skilled dance instructor. On a whim, he begins taking lessons and gradually becomes passionately involved in ballroom dancing. Unaware of his newfound passion, Sugiyama’s wife, Masako, hires a private detective to investigate what her husband has been secretly doing.
Though the plot may seem familiar on the surface, Masayuki Suo’s strong direction and writing lend “Shall We Dance?” an irresistible charm. The film exudes a delicate warmth that never tips into sentimentality. Whether viewers are well-versed in ballroom dance or entirely new to the world of the social practice, there’s a universal relatability in Shohei Sugiyama’s newfound passion for it and Mai Kishikawa’s personal devotion to her craft. Additionally, the movie delivers strong humor through its visuals and dialogue, ensuring a guaranteed entertaining experience for the audience.
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While humorous, “Shall We Dance?” also offers a touching, dramatic depth with meaningful themes. Masayuki Suo emphasizes that ballroom dancing has a strong following due to its physical, mental, and social benefits, serving as a powerful outlet for self-expression and personal growth. In Japan, the strong pressure to meet societal expectations has led some individuals to feel restricted, with limited personal freedom and opportunities to express themselves. Breaking outside of those norms is often met with judgment.
Overcoming conservative cultural norms is a theme reflected in the characters, who each begin with a personal struggle, longing for something more in their lives. Shohei Sugiyama’s commitment to his salaryman lifestyle leads him to feel socially confined and emotionally distant from his family, and he is initially willing to risk his marriage in pursuit of another woman. His wife, Masako, wants him to find personal happiness, but she grows suspicious and fears her husband is having an affair when he secretly takes dance lessons. Mai Kishikawa, though a skilled dancer, is portrayed as lonely and emotionally wounded by past trauma that is slowly revealed throughout the story. Sugiyama’s colleague, Tomio Aoki, is depicted as socially isolated, particularly in the workplace, where he is repeatedly ridiculed by his peers. The other regulars at the dance studio also share a desire to break free of traditional constraints.
The personal growth of all these characters is directly tied to the idea that ballroom dance symbolizes a path to self-expressive freedom. The film’s title, “Shall We Dance?,” directly reinforces its central theme of personal expression. Even when conflicts do arise, Suo presents each perspective with empathy, leading to resolutions that feel genuinely satisfying.
A talented cast works with a stellar script to bring these characters to life with depth and charm. Koji Yakusho brings earnest sincerity to the role of Shohei Sugiyama, believably portraying his transformation from a depressed salaryman to someone personally enlightened through the world of ballroom dance. In her first acting role, Tamiyo Kusakari draws on her background as a dancer to portray Mai Kishikawa, while also imbuing the part with emotional nuance. Additionally, Yakusho and Kusakari share superb on-screen chemistry. What could have played out as a marital affair instead evolves into a heartfelt relationship made touching by the clear affection and emotional bond the two form, even without direct romantic implications.
The supporting cast shines as well. Naoto Takenaka exudes unabashed charisma in his portrayal of Tomio Aoki, who becomes overtly expressive through dancing. Equally charismatic is Eriko Watanabe as Toyoko Takahashi, a character deeply devoted to the craft of dance. Hideko Hara lends authenticity to Shohei Sugiyama’s wife, Masako, who radiates gentle warmth through her heartfelt concern for her husband, to which the audience will eagerly hope for an eventual reconciliation between the two. Other actors who appear, including Akira Emoto, Reiko Kusamura, and Ayano Nakamura, also turn in solid work here.
The ballroom dance choreography reflects thorough research and respectful portrayal, enhanced by the impressive presentation. In general, Naoki Kayano’s cinematography is visually stunning, and Junichi Kikuchi’s editing is consistently smooth. Music is effectively utilized, highlighted by Yoshikazu Suo’s memorable and diverse compositions. That said, the standout musical piece is a beautiful cover of Rodgers and Hammerstein’s tune “Shall We Dance?,” arranged by Suo and sung by Taeko Onuki.
“Shall We Dance?” is a wonderful film that blends humor and heartfelt drama. Incorporating ballroom dancing as a metaphor for self-expression, Masayuki Suo delivers a moving message about stepping beyond one’s comfort zone, taking on a challenge, and embracing the personal growth that follows. By the end, viewers will be left not only entertained but deeply moved.
