Tokyo Pop

Director: Fran Rubel Kuzui
Screenplay: Fran Rubel Kuzui, Lynn Grossman
Producers: Kaz Kuzui, Joel Tuber
Starring: Carrie Hamilton, Yutaka Tadokoro
Year: 1988
Country: USA, Japan
BBFC Certification: 18
Duration: 99 mins

One of the great things about independent film is there always seems to be more gems to unearth. So when the Blu-ray release of Tokyo Pop, a film I’d never heard of, was announced I jumped at the chance to review it. Initially when sitting down to watch the film, I felt like I was home. The early scenes of a discontented young singer in New York and her impulsive move to Tokyo had all the thrilling indie energy of the films that had nurtured my love of independent film back when I was a teenager. The culture clash premise, though well-worn, felt entirely appropriate for the sort of film that is beloved of those who don’t quite fit in and is made by filmmakers who have found a way to circumvent the system. But as the film went on, the familiarity of this narrative began to take its toll on my enjoyment. Whether that is due to the fact that rebellion and independence have been cynically co-opted by the mainstream in subsequent years I’m not sure but as Tokyo Pop began to lean more heavily into themes of the temporary and exploitative nature of fame and the importance of staying true to your vision, I rapidly lost interest.

Tokyo Pop is at its best when it is simple and sweet, before it plunders hackneyed didacticism. Carrie Hamilton is an engaging and likeable lead and the early scenes of her character Wendy exploring Tokyo and realising her impulsive relocation may have been somewhat naïve are some of the best. Her introduction to Yutaka Tadokoro’s aspiring rock ‘n’ roller Hiro takes the film down another fairly predictable love/hate path of romantic misunderstandings but these are thankfully dealt with quickly and their burgeoning romance proves to be another highlight. The scene in which they first attempt to make love is an interesting one, as Wendy’s discomfort with Hiro’s initially overenthusiastic technique and his subsequent apologetic adjustments feel like a realistic depiction of the awkwardness of first sexual encounters, one which remains entirely respectful in an era in which audiences would often have been encouraged to roll their eyes at a woman’s understandable reticence.

If Tokyo Pop feels smarter than its average contemporary in the relationship stakes, its depiction of band tensions, the trappings of fame and the disappointment of not automatically finding happiness in success all feel mapped out with a crushing inevitability. By the time it turned out that Hiro had written his own song, “something real” that he should be playing instead of the band’s star-making cover versions, I was getting very fidgety indeed. It was a shame after Tokyo Pop had navigated its way through several cliches with an artful touch that differentiated it. The films collapse in its final act felt like a surrender to expectations, ironic given Wendy’s speech denouncing the titular phenomenon of Tokyo Pop music. By the end, Tokyo Pop feels like it’s hitting every one of those expected choruses at the expense of its carefully established personality. As the credits rolled over Wendy singing an impassioned song dedicated to Hiro, this really felt like a tune I’d heard too many times before.

Tokyo Pop is released by Third Window Films on Blu-ray on 5 May 2025. Special features are as follows:

• Director Fran Rubel Kuzui audio commentary
• James Balmont video essay
• Director Q&A at the Japan Society
• Panel Discussion at the Tokyo Film Festival
• Trailer
• 8 page booklet