I don't like the translation of "talking about love, dancing". I hope that this story has nothing to do with "talking about love".
In the initial stage of the film, the male protagonist Suiyama, who used to work and live repeatedly like a machine every day, broke the original shackles and found some different passions and joys with the help of dance lessons and dance teachers. At this stage, although there is no sword, light and sword shadow, many struggles and confrontations are directly or indirectly displayed brilliantly, such as the inner conflict of Sugiyama hesitating to go to the dance classroom, the wife's doubts about the late return, and even the act of seeking detective help, Aoki The pace brought the strange eyes of all colleagues, several "collision" accidents in the dance classroom...especially the inner conflict of Sugiyama, through the characters' movements, voices, expressions, and even silence, they were all expressed very delicately. Every time I stared at the window sill of the classroom like admiration, and every time hesitated to wander on the platform, although he was speechless, he all revealed his inner world. These dreams, hesitations, and later hopelessness caused by emotional impulse are another pair of shackles besides the pressure of work and life. He is rejuvenated by dancing, and may not realize that the pressure of the past is gone. But he was put on another pair of shackles.
The story continues. When the slow and sluggish cycling journey finally has sunshine and vitality, I still can't guess how to continue the story. Does extramarital affairs break the family? Repent and return to the arms of a good wife? Showing off a small hand draws colleagues' admiration? Fortunately, I was really pleasantly surprised after reading it. The whole joyful and gentle picture in the first part suddenly turned into a cool tone, as if a beautiful waltz came to an abrupt end and entered a "freezing point"-acrid and annoying. Matsuko was in a coma and her daughter confessed her unknown hardships; Aoki was once again abandoned by her young and beautiful dance partner, frustrated and desperate, and no longer has the vitality of the past; Tanaka danced happily but was frustrated by Matsuko’s words and even cried, telling her the most. The painful past...
I remember someone once said that everyone is a moon, with a sad back side that is not illuminated by light. The "back of the moon" depicted in this passage is in sharp contrast with the light and joyful color before. When we look at this passage, we can't help but feel sad. The big turning point of "The Back of the Moon" not only makes the plot of the script subtle and unconventional, but also makes several supporting characters more than just ordinary supporting characters. We saw that they had been dancing with shackles all the time. It turned out that they were dancing a group of frustrated people. It turned out that even the gentle pace or passionate dance of Aoki was just a tight curtain to cover the shackles. After this episode, we lifted the curtain and were pleasantly surprised to discover the charm of the supporting role in the movie. Contrary to the heroes and heroines, the supporting characters do not have beautiful appearances. They are so ugly, but with passion, but with such a rich inner world. They are the first to hook out and throw away their inner pain after the turning point, and remove the shackles on their bodies. , Use the true self, the self without distractions to dance the dance of praise for life, and complete a process of self-salvation.
After a period of cold sorrow, the story returned to a warm, light joyful atmosphere, but at a deeper level, we were a little moved and had more expectations. It is also after this turning point that the trajectories of the heroes and heroines have also changed. Participating in the dance competition made the glamorous and unsmiling teacher Awu smile, and it also made Sugiyama feel that he was alive for the first time. Communicate and let them begin to understand each other. The story has a warm joy in the dance music of Mr. Tamura’s "Shall We Dance". The mistakes in the game have added a lot of twists and turns to the plot, and it also led to a letter from teacher A Wu's monologue. Only then did we know that she was dancing in shackles? She thanked Sugiyama, because Sugiyama's actions to protect her dance partner in the accident allowed her to regain her trust in others and gave her some comfort in the true trauma of Kurosawa's accident. So, we are delighted to see that she has put down her shackles, and she is no longer indifferent and overly self-conscious. In the last dance, Shanshan put aside his distracting thoughts, danced with only a happy heart, and finally completed his self-salvation. The joyful music sounded and the warm lights turned on. On this dance floor, dancers from off the stage also came to the center. Everyone was dancing with joy to guard the beauty in their hearts.
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