You may be the leader, but you’re nothing more than a frame.
What They Say:
Tatara and Mako have made it to the finals. As they step onto the dance floor, Tatara is determined to be the “frame” for his partner Mako. The first style is the Waltz solo. Tatara’s dedication to become the “frame” to enhance his “flower” Mako captivates the audience”¦What lies behind his interpretation of “flower in a frame”?
The Review:
Content: (please note that content portions of a review may contain spoilers)
It’s time for Tatara and Mako to prove what they’re made up in a way that Tatara has never experienced before: a solo dance. That means that, for the first time, the judges and audience will be watching him and his partner – no one else. With that comes a level of pressure unlike anything he’s experienced with merely being one of the crowd of CG puppets crowding up the dance floor, but more than that, the pressure to outdo Gaku and Shizuku in some way, especially with Hyodo watching, is even more intense. Due to these factors, it’s important for the pair to discuss what makes a great dance couple, and the ultimate goal is always “the flower and the frame” – that is, the man is the “leader” for the woman to follow, but for the presentation to those watching, that should effectively be conveyed as the man simply serving as a “frame” to better show off the beauty of the “flower” that is the woman. While the roots are still lodged firmly in the idea that the man has the power and the woman must look as pretty as possible, it does at least give a perspective in which the woman is more important, a welcome change from talking about how the leader is the only one who really matters. Both Tatara and Mako are ready to do their best to ensure that they execute this philosophy to perfection, lest Tatara’s inexperience end it.
Much of the dance doesn’t actually focus on this matter, instead delivering more of what we’re used to inside Tatara’s head as he tries to piece together the things he’s picked up between watching more experienced dancers and his formal lessons, the only major difference being that, again, all eyes are on them this time. Thankfully they don’t suffer the same CG puppet fate that their nameless competitors are subject to, but in these lesser moments of the dance, the amount of actual motion compared to stillness is still lacking. The music being played in-universe often fades to allow for more focus within the characters’ heads, which allows for some of Hayashi’s original score to come into play as the action kicks back into gear, which is always appreciated. He’s one of the best parts of this adaptation; while you wouldn’t think the pieces used for these dances would have much in common with the standard shounen anime background music that he excels at, he also composed music for dancesport specifically before delving into the very active and accomplished anime career he’s had recently, making him the perfect fit for this series. And even when it has no place in a ballroom dance, this show is more about shounen sports tropes than actual ballroom dancing anyway, so when we’re in a character’s head, the normal fare fits.
The climax of the episode finally delivers on the promise of Mako becoming the beautiful frame that will wow the spectators regardless of Tatara’s abilities. It’s actually thanks to Tatara’s lack of presence that she can shine so brightly, and it’s a skill unto itself to be so unnoticeable. These shots of Mako truly are as stunning as they’re made out to be, so the adaptation isn’t all weak.
In Summary:
Tatara and Mako dance their first solo at a competition. It’s a great moment for making the woman the critical piece in the pair, and while not as animated as it should be, the climactic moments do give us some wonderfully rendered artwork to take in, along with some killer music.
Grade: B
Streamed By: Anime Strike
Review Equipment:
Roku 3, Sceptre X425BV-FHD 42″ Class LCD HDTV.