急需美国版shall we dance的英语影评，一两百字~非常感谢

Richard Gere plays John Clark, not an unhappy man, in "Shall We Dance?" He loves his wife and daughter, he enjoys his job as a lawyer, and when his wife gets that funny look in her eye and asks him if everything is OK, he says sure, of course, everything is fine. But there is something missing. One night as he is returning home on the L train, he notices a woman standing alone in the window of Miss Mitzi's Dance Studio. There is something intriguing about her solitude, her pensive attitude and, let it be said, her figure. A few days later, he gets off the train, walks into the studio and signs up for classes in ballroom dancing.

Is he interested in dancing? No. Is he interested in the woman, named Paulina and played by Jennifer Lopez? Yes. Is she interested in him? No: "I prefer not to socialize with students." What does he think of the others, including the giant-sized Vern (Omar Benson Miller), the homophobic Chic (Bobby Cannavale), the would-be bombshell Bobbie (Lisa Ann Walter), the manic dynamo Link (Stanley Tucci), and of course dear Miss Mitzi (Anita Gillette)? Let us say these are not the kinds of people he usually associates with.

But Paulina exudes a true fascination, especially when she personally dances the rumba with him. In talking about dance, she allows herself a feedom and sensuality she denies herself in life. Listen to her: "The rumba is the vertical expression of a horizontal wish. You have to hold her, like the skin on her thigh is your reason for living. Let her go, like your heart's being ripped from your chest. Throw her back, like you're going to have your way with her right here on the dance floor. And then finish, like she's ruined you for life."

And then ask her if it was as good for her as it was for you. "Shall We Dance?" is a reasonably close remake of "Dansu Wo Shimasho Ka" (aka "Shall We Dansu?"), a 1996 Japanese film that set box-office records at home and won audiences around the world. If you've seen it, you know precisely what happens in the Hollywood version, but the movie is a star vehicle; the plot isn't the point, Gere and Lopez are. When they dance together, it's a reminder that when dancing became rare in the movies, so did a lot of grace and sexiness.

This is not a cutting-edge movie. The characters are broad, what happens is predictable, and of course, everything ends up in a big ballroom dancing competition, and (are you ready for this?) at the crucial moment, we get the obligatory scene where the loved one arrives in the audience, sees what is happening and understands all. I'm averaging two versions of that scene a month, most recently in "Raise Your Voice."

Conventional as it may be, "Shall We Dance?" offers genuine delights. The fact that Paulina is uninterested in romance with John comes as sort of a relief, freeing the story to be about something other than the inexorable collision of their genitals. It can be about how John feels about his life, about why it might be useful for a middle-aged lawyer to jump the rails and take up ballroom dance. And about the gallery of supporting characters, who get enough screen time to become engaging.

Stanley Tucci, for example, has fun with Link, who is John Clark's mild-mannered colleague in a Loop law firm. On the dance floor, wearing a flamboyant hairpiece, he becomes a wild man. His dream: "I want to dance before the world in my own name." He fears he would lose his job if he did that, but when John joins the class, he gains courage. He's one of the reasons John stays at Miss Mitzi's even after it becomes clear that Paulina is not available. "Ballroom is all or nothing," Link tells him.

There's one area where the American remake is less than convincing. In the Japanese version, we believe that a faithful wife might remain at home evening after evening while her salaryman husband returned long after work. That's part of the Japanese office culture. That an American wife would put up with it is more problematical. The Clark household, including their teenagers, is not very realistic, but then it exists only as the staging area for the last big scene. I enjoyed the Japanese version so much I invited it to my Overlooked Film Festival a few years ago, but this remake offers pleasures of its own.

李察·基尔扮演约翰克拉克，没有一个不快乐的人，“我们跳舞吗？”他很爱他的妻子和女儿，他喜欢他的工作作为一个律师，当他的妻子得到有趣的看着她的眼睛，问他是否一切都好，他说：当然，当然，一切都好。但缺少什么。一天晚上，他回到家里对我的火车，他注意到一个女人独自站在窗口米兹小姐舞蹈工作室。有一些有趣的关于她的孤独，她沉思的态度，让我们说，她的身影。几天后，他下了火车，走进工作室和报班在舞厅跳舞。

他对舞蹈感兴趣？号是他感兴趣的女人，命名和由珍妮弗·洛佩兹？可以。她对他感兴趣？：“我不喜欢社交与学生。”他是怎么想的人，包括巨型韦恩（奥玛尔·本森），同性恋熙（博比·卡纳威），潜在的炸弹博比（丽莎安·），躁狂发电机连接（斯坦利图奇），当然，亲爱的米兹小姐（安妮塔吉列）？让我们说这些都不是类型的人，他通常同伙。

但宝琳娜散发出真正的魅力，尤其是当她亲自与他跳伦巴。谈舞蹈，她允许自己自由和感性她否认自己在生活。听她说：“伦巴舞是一个垂直的表达水平。你要抱着她，像她大腿上的皮肤是你生存的理由。让她走，就如同你的心被撕裂你的胸膛。把她带回，你将有你与她就在这舞池。最后，如同她毁了你的生活。”

然后问她如果是好，她是你的。”我们跳舞好吗？”是一个相当接近的重拍“石塑禾shimasho卡”（又名“我们石塑？”）日本电影，1996集的票房纪录，在国内赢得了全世界的观众。如果你看到它，你知道什么发生在好莱坞的版本，但电影是星车辆；情节并不重要，基尔和洛佩兹。当他们一起跳舞，这是一种提醒，当舞蹈成了罕见的电影，所以做了大量的优雅和性感。

这不是一个尖端的电影。特点是广泛的，发生的事情是可以预见的，当然，一切都结束了在一个大舞厅跳舞比赛，和（你准备好了吗？）在关键时刻，我们得到的爱的人到现场观众，看到发生了什么，明白了一切。我场均2个版本的场景一个月，最近在“提高你的声音。”

传统的因为它可能是，“我们跳舞吗？”提供真正的快乐。事实上，宝琳娜是不感兴趣的浪漫与约翰来作为一种解脱，让这个故事是关于其他的东西比他们的生殖器的碰撞。它能够对于如何约翰对他的生活，为什么它可能是有用的一个中年律师跳轨，以国标舞。和画廊的配角，谁获得足够的屏幕时间成为从事。

斯坦利图奇，例如，有一个有趣的链接，谁是约翰克拉克的温和的同事在环法律公司。在舞池，穿着华丽的假发，他成了一个野人。他的梦想：“我想跳舞之前，世界在我自己的名字。”他担心他会失去他的工作，如果他那样做，但当约翰加入班级，他获得的勇气。他是原因之一，约翰住在米兹小姐的即使它变得清楚，宝琳娜不可用。”舞厅是一切或什么都不是，”链接，告诉他。

有一个地区，美国版是不太令人信服。在日本，我们相信，忠实的妻子留在家里每晚在她丈夫很久以后工作的上班族。这是日本文化办公。一个美国老婆忍受较多。克拉克的家庭，包括他们的孩子，是不现实的，但它只是临时区域的最后一个大场景。我很喜欢日本版这么多我邀请到我忽略了电影节的前几年，但这种改造提供自有乐趣。

I don't want to write this review because feel very general

But then I think I spent four hours in the Japanese version and the United States edition watch again do a record deal

Like the previous look" feeling of love" and" the departed".

I saw all the American remake version of it in a complete mess when

Feel the United States version looks better

In" Shell we dance".

The Japanese version is too slow that I get more than two hours (136m/118m )

And the Japanese edition that make me laugh joke

Is the Jennifer Lopez than the grass mowed and much more.

The mouth of artistic don't say with me. I a laity say I refined is to scold me

Don't say I was the Hollywood poison

Can be said that except Hongkong

Other countries and regions of the film I have seen more than a lot of people