Genre: Romance, Drama, Comedy, Marriage, Detectives, Love, Law, Infidelity, Gay/Lesbian
Tagline: Step out of the ordinary
Plot: John Clark (Richard Gere), a man with a wonderful job, charming wife (Susan Sarandon) and loving family, who nevertheless feels that something is missing as he makes his way every day through the city. Each evening on his commute home, John sees an entrancing young teacher (Jennifer Lopes) staring with a lost expression through the window of a dance studio. Haunted by her gaze, John impulsively jumps off the train one night, and sings up for dance lessons hopping to meet her. At first, it seems like a mistake. His teacher turns out to be not Paulina, but the older Miss Mitzi (Anita Gillette), and John proves just as clumsy as his equally clueless classmates on the dance-floor. Even worse, when he does meet Paulina, she icily tells John she hopes he had come to the studio to seriously study dance and not to look for a date.Buts, as his lessons continue, John discovers that his attraction to Paulina pales in comparison to the invigorating effects of falling in love with dancing. Now, keeping his new obsession from family and co-workers, John feverishly trains for Chicago's biggest dance competition. His friendship with Paulina blossoms, as his enthusiasm rekindles her own lost passion for dance. But the more time John spends away from home, the more his wife becomes suspicious
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 I walked out of the original Shall We Dance? with a silly grin on my face. I left this one shaking my head, wondering where it had all gone wrong.  --James Berardinelli (ReelViews)
Richard Gere waltzes his way through a midlife crisis and past Jennifer Lopez and Susan Sarandon.--Charles Taylor (Salon)
"Shall We Dance?" takes a small, exquisite Japanese movie and turns it into a big, stupid American movie. Still, it must be said that as glossy and overproduced as the thing is, it's a good Big Stupid American movie.--Stephen Hunter (Washington Post)
The Americanized version is a melodramatic nightmare marred by poorly contrived situations and emotionally weak characters.  --David Levine (FilmCritic.com)
The word that most comes to mind when thinking about the Hollywood remake of the thoroughly delightful Japanese film, SHALL WE DANCE, is irksome, followed by tedious, pallid, and pointless. The cultural nuances of the original have been, of course, lost entirely, and in their stead is the sort of deep insight into the human condition that can most readily be found in a fortune cookie.  --Andrea Chase (Killer Movie Reviews)
It's a simple-minded film, really, chock-full of tiny subplots among the dance-class members that are given only a passing glance before they're finally "resolved." D+--Eric D. Snider (EricDSnider.com)
This is a "What were they thinking?"-size disaster, with the wrong actors in the wrong roles in a project that had no reason to be remade in the USA.  --Jack Mathews (New York Daily News)
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| Written by |
| Audrey Wells
The Truth About Cats & Dogs, The Kid, Under the Tuscan Sun |
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| Music By |
John Altman
Little Voice, Beautiful Thing, The MatchMaker | |
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JENNIFER Lopez's butt-hug ging costumes are the most memorable thing about "Shall We Dance," a lead- footed and otherwise in stantly forgettable remake of the charming 1997 Japanese musical of the same title.  --Lou Lumenick (New York Post)
...an American remake of the sweet 1996 Japanese film of the same name, is an ill-fated attempt to translate a wonderful foreign-language film for American audiences -- and it falls apart on its own, too.--Paul Clinton (CNN Showbiz)
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