Shall we dance? La nouvelle vie de Monsieur Clark

One of the worst things anyone can do is to try to tackle something that was made better. Hollywood doesn't seem to learn its lesson at all. In trying to "Americanize" the great Japanese film of the same name, the film makers had no idea what they were getting into. In fact, the original film, directed with great flair by Masoyuki Suo, loses all its charm with this reincarnation.

That said, this edition of "Shall we Dance" directed by Peter Chelsom, is not a horrible movie, but the freshness and subtleness of its Japanese model was lost in the translation. While the Japanese version was light and captivating, this adaptation is a bit heavy handed. The editing of the film has a lot to do with out enjoyment, and when the dance sequences in the competition are clumsily handled as it's the case here, one wonders what could the creators have been looking at?

The idea of seeing Richard Gere as the man who is intrigued by the dancing he sees as he passes the dance academy, is not as credible as one would have expected to be. Mr. Gere is versatile enough as he already showed with his role in "Chicago". The idea of his character pulling the wool over his wife Beverly's eyes doesn't come across as too credible. It seems to be a cultural difference that a Japanese wife might be less vocal and accepting a straying husband than in this country by an American wife. That's basically the fatal flaw with the movie, in our humble opinion.

Jennifer Lopez comes across better. As Paulina she shows a professional attitude toward her students, but her chemistry with Richard Gere doesn't create any sparks. Susan Sarandon, as Beverly, the wife who suspects her husband's betrayal, underplays her role with better results than some of her late screen appearances. Stanley Tucci's character is irritating, at best and Lisa Ann Walters does what she can with Bobbie.

Since you probably have seen this version, take a chance and rent the original Japanese film and compare.

I saw the Japanese original film "Shall We Dance?" few years ago and I was charmed by its subtlety and delicacy. I did not plan to see the remake because I am not crazy about the remakes in general and I did not look forward to see Lopez or Gere in the movie together. When I finally saw the movie (my mom who's seen both films highly recommended the American version to me), I was surprised how much I enjoyed it.

The cultural contrast of the Japanese film ceased to exist in the 2004 movie but there is still a lot to like in it. First of all, I love to watch good dancing and "Shall We Dance?" has plenty of it. Gere's and Lopez's dancing together has grace and passion, and it was a wonderful moment in the film.

Then, there are memorable and funny supporting characters that had screen time enough to become more than the lifeless shadows - Stanley Tucci (Link) and Lisa Ann Walter (Bobbie) for whom the ballroom dancing is the road to freedom, and happiness.

And the last but not the least, the movie is asking the question, how to make a man happy if he's got everything - the job he enjoys, the family he loves, his health, and good looks but something is missing? It would take more than any movie to answer the question but perhaps it would help one day just take a different road and open a new door?

This was a decent movie. It will never be as good as the original but it was effective and made you feel good in the end. This is the third Chelsom film I have seen. I didn't see the British movies that brought him the most acclaim but only Town and Country, Serendipity and now this one. The first was clearly a disaster. The latter two should not have worked but they do. Chelsom depends very much on the charisma of his actors to pull off his movies combined with the whimsy he adds with his direction.

With that being said, Gere is very effective in his role. It is his character's likability that sells this movie combined with the colorful supporting actors that show up in Chelsom's movies that provide the final sell for the movie. I predict this movie will spawn an increase in dancing lessons. Like the movie Serendipity, people will leave this movie feeling there is magic in the air and seek out ways to find the magic in their own lives...

After watching the movie Shall We Dance, I could say its fair enough to compare it to Billy Elliot in the sense that John and Billy were both afraid to tell people they were taking dance lessons. This movie was considered to be a romantic comedy where a bored, overworked Estate Lawyer, upon first sight of a beautiful instructor, signs up for ballroom dancing lessons.

The main character John Clark seems to be having a great relationship with his wife. But he feels like he can not tell his wife about him taking lessons. The reasoning behind this is unclear, but it seems like he will cheat on his wife with the dance instructor. Of course after watching the movie you see he doesn't commit such an act. In the scene where he travels home everyday on the train and passes the dance studio is very affective. We are uncertain if he will follow through and end up taking the lessons.

When John finally starts dance lessons he really isn't that great. He hides it from everyone at home and work. His family starts to see strange behaviors in him, such as peeking in on him in his room and he is dancing around by himself. They are curious to know what he has been up to; his wife goes on and hires a private investigator to see if he is cheating on her. He then follows John and sees he goes to dance classes.

The best scene in the movie is when John has to perform in the dance competition. He realizes he is really good at something and debates sharing it with his family. When his wife and daughter found out, they went to his dance competition. He messed up when he saw them and his daughter yelled "yeah dad." His family then walked out on him and his performance. From that moment he decided he didn't want to dance anymore. His wife wouldn't let him do that because she saw how good he was!

I should start by admitting that it was quite a while ago (New Years Day 1997, to be exact) that I watched the Japanese original, 'Shall We Dansu' (which, incidentally, IS THE ORIGINAL; the Astaire/Rogers 1937 flick, which happens to have the same name, IS NOT). However, although I don't remember every single detail, the essential feelings as well as some of the vivid images still seem fresh in my mind, particularly the glittering performance of Koji Yakusyo and Tamiyo Kusakari.

The Hollywood remake, while not as good as the Japanese original, is at least passing grade, in capturing the essence of the film, 'a man seeking not so much a woman as an answer to his question. Why is she sad? What is she thinking' (Ebert, on 'Shall We Dansu', NOT 'Shall We Dance'), as well as everybody's passion for ballroom dancing.

Richard Gere continues to exude his charm on the female audience. Jennifer Lopez, following Maid in Manhattan, continues to get more comfortable with more matured roles. Oscar best actress (and 5 times nominee) Susan Sarandon is dependable as ever. I'm trying very hard to think of a movie in which I can't find Stanley Tucci and …… darn it, the more I watch the guy, the more I like him!