User reviews

This film looks as if it could have come from a more interesting book or play. A Russian photographer is trapped in post-war Tokyo and embittered both by Japan's role in the horrors of the recent war and by its close knit society and the limitations it places on his career. He seeks US citizenship and the professional freedom he perceives that it offers. He becomes torn between an American woman with very idiosyncratic social circumstances but who can offer him transit to the US and a comparatively westernised upper class Japanese girl. The portrayal of the sleazier side of Tokyo life, and especially expatriate life, of the time is interesting and probably representative. For the time it was made this is a particularly "adult" film. Worth a look.

I felt this movie did a reasonably good job of dealing with the cross cultural issues of the time and place. That is a significant accomplishment given the complexities of Japan and the lead character's mixed background. This movie can get you thinking if you take the time to watch it closely. Laurence Harvey underplays his role as usual but I think he managed to effectively convey the embittered and driven nature of the character who is also just starting to dare to listen to his feelings. France Nuyen tries but she is manifestly NOT Japanese and cannot come close to fooling anyone. She looks great and is accessible to the Western audiences that the movie was intended for but nonetheless, I was left wondering how the movie would have changed if a Japanese actress had been cast as Tomiko.

The rest of the cast delivers well although one wishes Martha Hyer's character had been given a bit more time to be developed.

Visually very well done.

Laurence Harvey (of "Butterfield Eight" fame) plays a Eurasian (half-Russian/half-Japanese) photographer living in Japan who longs to go to America.

He is torn between his attraction to the blonde American Martha Hyer and the Japanese Tamiko (France Nuyen).

It has its moments and some glimpses of Japanese culture, but is not the greatest film.

Laurence Harvey is a half-Russian, half-Chinese photographer who has been waiting 12 years to immigrate from Japan to the USA. Embittered by the death of his parents during the Japanese invasion of Shanghai, he is now caught between desire for a US Embassy official (Martha Hyer) & growing love for a high-born Japanese girl (France Nuyen). Much more than an escapist romantic melodrama, it explores issues such as the difference in socio-economic classes & its effect on some people, modernity & freedom vs. tradition & culture. Beautifully filmed in Tokyo, Kyoto & the lake region, this movie will have you booking a flight on the next Japan Airlines flight.

Unfortunately, Paramount Studios has NOT released a wide screen DVD of this little seen & underrated film.

Miyoshi Umeki playing a prostitute? I had to see it to believe it. In A Girl Named Tamiko, she's unfortunately not the title character, but she does indeed play a hooker. Her favorite client is Laurence Harvey, an English photographer who lives in Japan, and she doesn't make him pay for his visits.

Miyoshi is definitely the supporting character, as you might guess from the "and" she received in the opening credits. Although, she may have had that stipulation in her contract, since she played the lead in Flower Drum Song and still was billed with an "and". The bulk of the story focuses on a ridiculous and highly confusing relationship between France Nyugen and Laurence Harvey. In one scene, they don't even like each other and aren't in a good place for a new relationship. In the next, they're in each other's arms claiming they can't bear to be parted. And what about Miyoshi Umeki? How can he be such a cad and break her heart? Maybe because he's Laurence Harvey, and heartbreaking cads are all Hollywood allowed him to play. Still, I felt sorry for her.

You'll also see Michael Wilding, Martha Hyer, Gary Merrill, Ray Teal, and Philip Ahn in the supporting cast if you choose to rent this "romantic" drama. It's not my favorite, since it's one of the pigeon-holed Laurence Harvey flicks that make him out to be a heartless womanizer only out for himself. He's constantly after a traveling Visa so he can leave Japan, but when he starts seducing Martha and France, he's hoping one of them can help him. Not too romantic is it?

Adapted from the best-selling novel by Ronald Kirkbride of the same name, 1962's A Girl Named Tamiko touches on the then taboo subject of interracial romance. In this situation, it happens to be between a Japanese woman and a mixed-race white man. While taking into account the sensibilities and cautiousness of sixties movie studios, A Girl Named Tamiko was very ahead of it's time in dealing with racial intolerance in both Western and Japanese culture. Whereas I found the more heralded film Sayonara slightly condescending in its handling of the subject of race, A Girl Named Tamiko, in my opinion comes across more honestly. Another interesting note, this film sets the Japanese girl on the higher social level of than her white lover. In other films from this era dealing with interracial romance, it's usually the ethnic girl (Asian, Latina, Black) who is "moving up the ladder" by winning her white lover. It was a pleasant surprise to see that role reversed in this film.

Set in 1960s Japan, Eurasian photographer Ivan Kalin (the underrated British actor Laurence Harvey) lives life with a chip on his shoulder concerning his Japanese hosts. His disdain stems from the fact that both his mother and father were killed due to Japanese military aggression. Ivan sees their culture as cold, structured and racist and is convinced there is no room for success there for a foreigner, despite his talents. Seeing the United States as a better opportunity for him to become successful, Ivan becomes a "user" and there seems to be no end to the people he will use to get what he wants including those closest to him.

While at a nightclub, Ivan's life is changes forever when he meets a beautiful, intelligent Japanese girl named Tamiko (played by the enchantingly beautiful and unsung France Nuyen). Simultaneously, he rekindles an affair with vivacious, and influential Fay Wilson (all-time favorite bad girl beauty Martha Hyer). While obviously attracted to Tamiko, Ivan nevertheless sees Fay and her connections as his "free ticket" to the United States. With fame and fortune within his grasp, Ivan abandons the matters of the heart and pursues Fay until he has her in the palm of his hand. However, Ivan can't stop thinking about Tamiko, who in herself is the epitome of Japanese culture, everything which he despises. However, in Tamiko, Ivan sees the purity, and spiritual essence of Japanese culture stripped of its rigid structure and caste system. Tamiko, herself having lost her parents during the war, understands Ivan's hurt and anger against her people. Of course their path to romance is blocked not only by Ivan's selfish affair with Fay but also by Tamiko's brother Minya (played by great character actor John Fujioka). With his sister contracted into an arranged marriage with a Japanese of nobility, Minya forbids Tamiko to even be seen in public with Ivan. Nevertheless, the attraction is too strong and not even the rigidness of racism and social barriers can keep them apart.

While made in the melodramatic style of early 1960s Hollywood films such as The Best of Everything and Peyton Place, A Girl Named Tamiko manages to be a touching, honest and romantic journey into cultural differences, prejudices and intolerance. The performances by the two leads Nuyen and Harvey are both engaging and believable. Neither attempts to force an emotional response, rather they allow their budding romance to blossom into a simmer leaving only the censors to keep it from boiling over into something more "steamier."

The film was directed by John Sturges whose string of action-Western hits (The Magnificent Seven, Bad Day at Black Rock and Gunfight at the O.K. Corral), kind of made him the James Cameron of his time. Unfortunately, A Girl Named Tamiko was not a box office success when it was released. However, in watching this film, this doesn't appear to be the result of Sturges inability to handle softer material. In fact I feel it's just the opposite. Sturges effectively balances the sensitivities and delicacies of this "controversial" material without wimping out when it came to showcasing the prejudices of both Asian and Western cultures towards one another. His actors seem relaxed and at ease with the material, which is reflected in the steady, yet understated performances.