Movie review: Let the Dance Begin an older person’s romcom, but nothing soppy

The Argentinian movie Let the Dance Begin (original title: Empienza el baile), is an older person’s romcom with dramatic moments and nothing soppy. Photo / Meridional Producciones

Let the Dance Begin (M, 98 mins) Streaming for rent on Arovision; in Spanish, subtitled in English

Directed by Marina Sereseski

Reviewed by Jen Shieff

First off, a further recommendation for Arovision, a streaming service with film festival offerings, classics and genre films. No subscription, just target="_blank">rent as you go from their 2800 titles.

A particular one of theirs, the Argentinian film Let the Dance Begin, is an older person’s romcom with dramatic moments and nothing soppy.

The tango, which provides a backdrop to the film, although being placed tantalisingly off screen, was considered by Buenos Aires folk back in the 1930s to be indecent entertainment associated with violence, illicit sex and the lower classes.

Since then, it’s become respectable, elegant even, and is danced seductively by people of all genders from all walks of life.

It’s a complete delight to watch the story of retired fictional Argentinian dancers, international icons of the 80s Carlos (Dario Grandinetti) and Marga (Mercedes Morán) unfold.

The film is rather like a tango: the main characters pull close, draw away, there’s a passionate embrace followed by a distancing as, dance-like, the mood of the film goes from light to dark and back again. It’s slightly predictable, but lots of fun.

The pair split up as dance partners and lovers in their 20s, Carlos moving to Spain and Marga slipping into obscurity.

Carlos, now a famous soap star, has a younger wife, Elvira (Pastora Vega), from whomhe seems remote.

While Elvira, uncertain what’s happening to her marriage, becomes a bit of a nag, Carlos is deeply connected to their daughter, Julia (Agostina Pozzi).

Carlos is not making himself available for calls from his producer, seeming to be in a career and personal limbo, but he does answer an unexpected call from his old accordion/bandoneon player in Buenos Aires, Pichuquito (deadpan comic Jorges Marrale), who brings him a shattering piece of news.

At Pichu’s request, Carlos goes back to Buenos Aires, but, shocked to find what he’s missed out on while he’s been awa;, not wanting to reconnect with his past, he immediately wants to fly back to Spain.

Pichu intervenes, persuading Carlos to go with him and Marga on a long, crazy drive in a broken-down VW van, harking back to Little Miss Sunshine (Dayton and Faris, 2006), Pichu at the wheel with chain-smoking Marga and chain-dragging Carlos squeezed in beside him.

In a startling twist, Carlos finds that a piece of his heart has been captured by somebody he’d never considered as a love interest, who serenades him, poignantly and hilariously, in a dilapidated hotel dancehall.

Secrets are withheld by Marga and Pichu, creating suspense as we wait for the next piece of their puzzle to be revealed.

This memorable feel-good tale is light entertainment with a peek into the difficulties and complexities of the tango – on and off the dance floor.

★★★★