As a fan of Japanese cinema, when I heard a new 4K restoration of the fully uncut Japanese version of Shall We Dance (1996) was hitting theaters today I was a bit curious. While I was well aware of the 2004 romantic comedy starring Richard Gere and Stanley Tucci, what most don’t know is that film was a Miramax remake of a Japanese film starring Kôji Yakusho, who most will probably know from his excellent turn as Hirayama the whimsical washroom attendant in Perfect Days. Like most foreign films released by Miramax, the original version was purchased by Weinsteins, who promptly cut 15 minutes and released with not a lot of fanfare as not to detract from the eventual remake that was to be released.
For those not familiar, Shall We Dance follows salaryman Shohei Sugiyama (Kôji Yakusho), who’s struggling with a bit of mid-life crisis. He’s got a beautiful wife, a loving daughter and he just purchased his dream home, but he’s still depressed. While waiting for the train home one night he spots a young woman out of the corner of his eye, Mai Kishikawa (Tamiyo Kusakari). She is standing at the window of a ballroom dancing studio and he sees in her expression the same melancholy that he is currently struggling with. After noticing her day after day he slowly works up the courage to take classes at the studio to meet the young woman, and instead of a simple affair, he finds a new reason for existing thanks to the art of ballroom dancing.
The new restoration begins with the following statement to set the cultural stage:
In Japan Ballroom Dance is regarded with much suspicion in a country where married couples don’t go out arm in arm, much less say “I love you” out loud, intuitive understanding is everything. The idea that a husband and wife should embrace and dance in front of others is beyond embarrassing. However, to go out dancing with someone else would be misunderstood and prove more shameful.
Nonetheless, even for Japanese people, there is a secret wonder about the joys that dance may bring.
While both the original and remake have narratives that are fueled by the fragility of masculinity, in its story of a man stuck in the doldrums of his day to day who discovers joy in the art of dance. There’s a cultural component to the Japanese version that makes its narrative even more audacious. In a culture where conformity is the status quo, and emotional expression is seen as a sign of weakness, Shohei’s journey is fraught on all sides by fear, embarrassment and shame. While he begins his journey because of that young woman, it’s the awakening that happens in the process that causes him the most internal turmoil; it’s at odds with everything that’s helped him attain the Japanese status quo.
While masquerading as a quirky romantic comedy, the journey of self discovery at the heart of Shall We Dance is timeless as it is transcendent. That’s not only thanks to a script that really digs into these characters and their lives, but how they are brought to life with some truly superb performances. There’s a quiet vulnerability to Shohei Sugiyama that you don’t see often in films with male protagonists. Sure he’s trying to uphold the appearance of what’s expected of him as a successful Japanese salaryman, but there are moments when you can see right through the surface into his internal struggle of fighting what is expected of him, but what his heart yearns to do and that joy it unlocks. He’s surrounded by a cast who rise to the occasion around him crafting a memorable cadre of characters who tug at your heartstrings when you least suspect it.
Coming into Shall We Dance, in this new 4K restoration, which also adds back in almost 15 minutes deleted from its initial US release was the best way I could imagine experiencing this cinematic delight. While it lures you in with its romantic comedy trappings, it’s the personal explorations at the heart of the film, experienced by not just by its male lead, but his romantic interest Tamiyo Kusakari as well that doesn’t end in a union, but still manages to offer up something more emotional and satisfying than you’d expect on the outset and its Rom-Com label. If you couldn’t tell I simply adored the film and I think this new uncut version deserves to be seen complete and theatrically, where it can inspire hope for all who are also looking for joy in their own dreary existences.
