While the American remake was disappointing, 1996's Shall We Dance by director Masayuki Suo beautifully critiques Japanese cultural divides.
The Big Picture Notoriously, Hollywood has made a habit of remaking international films, shadowing the original version from Western audiences. These types of remakes often weaken the heart of the original by changing key, often culture-specific, elements of the script, leaving the final product feeling hollow. Most audiences outside of Asia are unfamiliar with the 1996 Japanese film Shall We Dance? which inspired the American movie of the same name — starring Richard Gere and Jennifer Lopez.
Weeks later, Shohei's wife, Masako , suspects his happier mood, assuming he is having an affair, and goes as far as hiring a private investigator. One night, the detective and his partner visit the dance studio and take pictures of Shohei practicing with Mai. They assume Shohei, being a middle-aged man, is only taking dancing lessons because he is a pervert. "Seems embarrassing for these old Japanese people to be doing that," comments the detective.
More so, the film sparkles brightly from the expanded backstory of its deuteragonist Mai. Unlike the American version, we learn quite early that Mai suffered from an accident during a ballroom competition in Blackpool with her partner Okada. Mai feels betrayed, swearing to avenge herself for his fault, but her father forces her to teach at their family dance studio in hopes she can start anew.
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