Russ
12-27-2007, 06:56 PM
Shall We Dansu (Masayuki Suo, 1996), recommended by lovejuice
One of the most surprising things I found upon my recent viewing of Shall We Dansu? is that it really isn’t about dancing at all. Now, of course, there is a lot of dancing throughout, but that’s not really the core of this subtle and heartfelt film. The film’s protagonist, Mr. Sugiyama, sees a forlorn figure in the window of a second story dance studio on his nightly commute home from his job as an overworked accountant. What begins as a typical scenario of a middle-aged family man with a wife and daughter who is attracted to a mysterious female turns into a refreshingly original journey of self-discovery for both parties as their lives intersect in the most meaningful of ways. The decision taken by Sugiyama to enroll in a dance class in order to meet Mai, the object of his affections, puts into motion a chain of events that will have a life-changing impact on them both, but not in the way you might expect. To reveal any more of the plot would be unfair.
I love films that utilize a simple yet seductive premise and manage to take it in unexpected directions while populating its universe with beautifully honest characterizations. Even the supporting cast, who are all uniformly excellent, are never portrayed as simple caricatures. In a role that could have easily been rendered as throwaway comic relief, Naoto Takenaka (as Sugiyama’s co-worker, Mr. Aoki) brings far more depth to his role than what is typically found in a Hollywood film of this ilk. The sometimes jarring tonal shifts, often parlaying comedic sight gags into awkward moments of humiliation, seem to be more in line with aspects of Japanese culture that any transitional shortcomings on the part of director Suo. In fact, Suo displays a deft, fluid touch, which is evident in the way that emotionally turbulent confrontations segue into scenes of delicate poignancy with all the grace of one of the film’s beautifully filmed waltzes.
I had long wanted to see this film ever since Ebert initially raved about it. Simply put, it’s a very sweet, lovely film. And, I think, a great one, as well.
**** out of ****
One of the most surprising things I found upon my recent viewing of Shall We Dansu? is that it really isn’t about dancing at all. Now, of course, there is a lot of dancing throughout, but that’s not really the core of this subtle and heartfelt film. The film’s protagonist, Mr. Sugiyama, sees a forlorn figure in the window of a second story dance studio on his nightly commute home from his job as an overworked accountant. What begins as a typical scenario of a middle-aged family man with a wife and daughter who is attracted to a mysterious female turns into a refreshingly original journey of self-discovery for both parties as their lives intersect in the most meaningful of ways. The decision taken by Sugiyama to enroll in a dance class in order to meet Mai, the object of his affections, puts into motion a chain of events that will have a life-changing impact on them both, but not in the way you might expect. To reveal any more of the plot would be unfair.
I love films that utilize a simple yet seductive premise and manage to take it in unexpected directions while populating its universe with beautifully honest characterizations. Even the supporting cast, who are all uniformly excellent, are never portrayed as simple caricatures. In a role that could have easily been rendered as throwaway comic relief, Naoto Takenaka (as Sugiyama’s co-worker, Mr. Aoki) brings far more depth to his role than what is typically found in a Hollywood film of this ilk. The sometimes jarring tonal shifts, often parlaying comedic sight gags into awkward moments of humiliation, seem to be more in line with aspects of Japanese culture that any transitional shortcomings on the part of director Suo. In fact, Suo displays a deft, fluid touch, which is evident in the way that emotionally turbulent confrontations segue into scenes of delicate poignancy with all the grace of one of the film’s beautifully filmed waltzes.
I had long wanted to see this film ever since Ebert initially raved about it. Simply put, it’s a very sweet, lovely film. And, I think, a great one, as well.
**** out of ****