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Tokyo Godfathers

Originaltitel: Tôkyô goddofâzâzu
  • 2003
  • 12
  • 1 Std. 32 Min.
IMDb-BEWERTUNG
7,8/10
51.463
IHRE BEWERTUNG
Tokyo Godfathers (2003)
Trailer [English SUB] ansehen
trailer wiedergeben0:58
5 Videos
99+ Fotos
Adult AnimationAnimeHand-Drawn AnimationHoliday AnimationAdventureAnimationComedyDrama

Am Weihnachtsabend finden drei in den Straßen Tokios lebende Obdachlose ein neugeborenes Baby im Müll und machen sich auf die Suche nach seinen Eltern.Am Weihnachtsabend finden drei in den Straßen Tokios lebende Obdachlose ein neugeborenes Baby im Müll und machen sich auf die Suche nach seinen Eltern.Am Weihnachtsabend finden drei in den Straßen Tokios lebende Obdachlose ein neugeborenes Baby im Müll und machen sich auf die Suche nach seinen Eltern.

  • Regie
    • Shôgo Furuya
    • Satoshi Kon
  • Drehbuch
    • Satoshi Kon
    • Keiko Nobumoto
  • Hauptbesetzung
    • Tôru Emori
    • Yoshiaki Umegaki
    • Aya Okamoto
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    7,8/10
    51.463
    IHRE BEWERTUNG
    • Regie
      • Shôgo Furuya
      • Satoshi Kon
    • Drehbuch
      • Satoshi Kon
      • Keiko Nobumoto
    • Hauptbesetzung
      • Tôru Emori
      • Yoshiaki Umegaki
      • Aya Okamoto
    • 102Benutzerrezensionen
    • 110Kritische Rezensionen
    • 75Metascore
  • Siehe Produktionsinformationen bei IMDbPro
    • Auszeichnungen
      • 8 Gewinne & 1 Nominierung insgesamt

    Videos5

    Trailer [English SUB]
    Trailer 0:58
    Trailer [English SUB]
    Tokyo Godfathers
    Trailer 1:14
    Tokyo Godfathers
    Tokyo Godfathers
    Trailer 1:14
    Tokyo Godfathers
    Tokyo Godfathers
    Trailer 1:37
    Tokyo Godfathers
    Tokyo Godfathers
    Trailer 1:37
    Tokyo Godfathers
    6 Holiday Hits From Across the Globe
    Clip 2:01
    6 Holiday Hits From Across the Globe

    Fotos140

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    Topbesetzung60

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    Tôru Emori
    • Gin
    • (Synchronisation)
    Yoshiaki Umegaki
    • Hana
    • (Synchronisation)
    Aya Okamoto
    • Miyuki
    • (Synchronisation)
    Shôzô Îzuka
    • Ôta
    • (Synchronisation)
    Seizô Katô
    • Kâ-san
    • (Synchronisation)
    Hiroya Ishimaru
    Hiroya Ishimaru
    • Yasuo
    • (Synchronisation)
    Ryûji Saikachi
    • Rô-jin
    • (Synchronisation)
    Yûsaku Yara
    Yûsaku Yara
    • Miyuki no chichi
    • (Synchronisation)
    Kyôko Terase
    • Sachiko
    • (Synchronisation)
    Mamiko Noto
    • Gin no musume
    • (Synchronisation)
    Akio Ôtsuka
    Akio Ôtsuka
    • Isha
    • (Synchronisation)
    Rikiya Koyama
    Rikiya Koyama
    • Shinrô
    • (Synchronisation)
    Satomi Kôrogi
    Satomi Kôrogi
    • Kiyoko (Ôta's daughter)
    • (Synchronisation)
    Hidenari Ugaki
      Mitsuru Ogata
        Eriko Kawasaki
          Chiyako Shibahara
            Akiko Takeguchi
              • Regie
                • Shôgo Furuya
                • Satoshi Kon
              • Drehbuch
                • Satoshi Kon
                • Keiko Nobumoto
              • Komplette Besetzung und alle Crew-Mitglieder
              • Produktion, Einspielergebnisse & mehr bei IMDbPro

              Benutzerrezensionen102

              7,851.4K
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              Empfohlene Bewertungen

              9InzyWimzy

              Human factor

              Satoshi Kon's atypical holiday tale deals with our three main vagabonds and a choice deeply affecting them. Despite what level in life you find yourself, humans share similar basic emotions or feelings. For Gin, Hana, and the less than cheery Miyuki, an unexpected find makes them confront their past whether they like it or not. Memories flow bringing times of happiness, regret, pain, and questions of what could've been. There's a great character richness in this darker, grimier side of Tokyo, but Kon also manages to put in lots of random, humorous events especially by cameos from minor citizens. Plus, how could you not laugh with Hana's feminine wiles and that manly voice! There's a strong sense of karma here with "what goes around comes around". Doing nice things and you most likely will be rewarded. However, turn your back or refusing to help someone in need may come back to haunt you when you are stuck with no one to turn to. Hey, maybe it's never too late to learn a lesson, no matter how much it hurts.

              Satoshi Kon's not presenting an Aesop's fable here, but like in life, sometimes doing a good deed is the best reward in itself.
              10alitak

              Spectacular animation! Satoshi Kon is one of a kind!

              Satoshi Kon's animation films are increasingly impressive with each new release. This movie is not only a technical masterpiece of the Japanese animation style, but can also rival a good independent live-action film in its storytelling. The film's plot also doubles as a social commentary about life on the fringe in Tokyo (not only the homeless but also cultural minority and the mentally disabled), from both the inside and the outside looking in. As a Westerner, I was astonished at how the homeless characters adapted to Japanese traditional practices for their survival.

              The story of "Tokyo Godfathers" is much more compelling and heartwarming than Kon's previous films, "Perfect Blue" and "Milennium Actress", but the signature semi-realistic drawing style from his other films is still prominent. The discrepancies in movement between each character in the action sequences is particularly phenomenal. The backgrounds are intricate and perfectly painted. Note the art direction of the background buildings in some scenes to add even more connotation to the plot - sometimes they are more than what they seem!

              Kon is the next Miyazaki, and I predict that he will continue to bring Japanese animation films to the international foreground years to come.
              9itamarscomix

              Sensitive and beautiful

              Having suffered through the painfully pretentious and shallow, pseudo-Lynchian mess of Perfect Blue, I was understandably skeptical about watching another film by Satoshi Kon (I have not yet seen Millennium Actress, but am now quite intrigued to do so). Tokyo Godfathers (a title which at first struck me as belonging most probably to a pseudo-psychological mafia thriller) was not only a pleasant surprise; it was the best anime feature I've seen in many years, probably since Ghost in the Shell, excluding anything by Hayao Miyazaki. Like the classic Grave of the Fireflies, Tokyo Godfathers struck me as unusual in the fact that it draws much from European cinema – English, Irish, German or Italian – while most commercial anime features try to mimic American film-making. But while Grave of the Fireflies was painfully sad and bleak, Tokyo Godfathers is irresistibly charming, and manages to be funny and incredibly touching at once like few anime films – few animated films, at that – ever achieve.

              Tokyo Godfathers is remarkably non-violent, as pacifistic perhaps as Miyazaki's films. You won't find any grand futuristic structures or fantastical creatures here; in fact, the animation may seem crude at first. But the characters are where the film really hits its mark. Kon triumphs, like in his excellent series Paranoia Agent, by not succumbing to the accepted prototypes and standards of how characters should look in an anime film; the lead characters in the film are all gorgeously ugly, in a way that even Miyazaki had not yet dared to do. Even the child character, Miyuki, is chubby, and not cute and beautiful in the way little girls 'should' be, by the unwritten laws of anime. Thus, Kon's characters are believable and true to life; they are three anti-heroes, outcasts from society, each running away from their pasts. Especially charming is Hana (AKA 'Uncle Bag'), the golden-hearted transvestite, who supplies much of the film's comic relief but also some of its most touching moments.

              Tokyo Godfathers – despite some far-fetched but amusing plot twists and coincidences – is at its core a very simple story, a beautiful little story about family, love and friendship. Few anime films are so unpretending; and thus, few anime films manage to be so strong. Watch Tokyo Godfathers; you'll laugh, you'll cry. And believe you me, ten minutes into it you'll forget it was ever animated.
              9Lord-Akiyama

              A delightfully funny holiday feature

              I honestly did not know what to expecting going into a viewing Tokyo Godfathers at the 2003 San Diego Asian Film Festival. It is the third film from Satoshi Kon, whose Perfect Blue was a creepy film that I liked and I am still awaiting to view Millennium Actress. Right from the start, Tokyo Godfathers was among the funniest animated features I had ever seen.

              The film quickly draw comparisons to Three Men and a Baby as well as the idea of the three wise men. Three homeless folk with different, and perhaps strange, personalities find an abandoned baby on Christmas and make it their mission to find its parents. And right from the start, the three end up on these crazy adventures that is nothing short of funny.

              Kon and fellow screen writer Keiko Nobumoto create a very witty film that at least provides endless laughter, even in moments that would normally be intense. At the same time, the provide a touching story of three people with nothing but the clothing on their bodies going out of their way to find the child's home.

              If you get the chance, Tokyo Godfathers makes for the perfect holiday feature for everyone to watch. It is highly recommended and I hope the Academy takes serious consideration when viewing this film as it is among the eleven eligible for being nominated for next year's Best Animated Feature category.
              9cherold

              charming urban fairytale

              This strikes me as a movie you will either accept whole-heartedly or trash whole-heartedly. It is shamelessly sentimental and is built on a series of absurd coincidences, but the amazing thing is it all works. The coincidences could feel like a shameless plot device but instead there is just a sense of wonderful magic, as though somehow the foundling the movie is built around lives an oddly charmed existence that transforms the lives of those around it.

              The movie does a wonderful job of making its characters both broad but human. This is not one of those cheesy movies that make homeless people seem ultimately wiser and nobler than the rest of us, but while they are all deeply flawed they all have a redeeming warmth.

              The movie is both very funny and very touching, and is really about the miracle of love in a world of harsh realities. If you're not willing to totally suspend your disbelief and give in to the movie's blatant flouting of all concepts of reality then you'll probably hate it, but if you want a charming fable this is a great choice.

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              Handlung

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              • Wissenswertes
                The number "12-25" (the date of Christmas) appears throughout the film: the number on the key ring, the cab fare (12,250 yen), a stopped alarm clock, the address in the newspaper ad, the cab license plate.
              • Zitate

                Hana: I am a mistake made by God. In my heart, I am a woman.

                Gin: Women can have children.

                Hana: What if a miracle like the Virgin Mary getting pregnant... was to happen to a homo?

                [to soup kitchen server]

                Hana: Better give me a little extra. I'm eating for two.

              • Crazy Credits
                The opening credits appear on billboards, store signs, truck lettering, etc.
              • Alternative Versionen
                There was another English dub of the film aired on Animax in Southeast Asia, in which generic baby sounds were used for Kiyoko.
              • Verbindungen
                Featured in Troldspejlet: Folge #31.16 (2004)
              • Soundtracks
                Climb Ev'ry Mountain
                Lyrics by Oscar Hammerstein II

                Music by Richard Rodgers

                ©1959 Williamson Music Co.

                Licensed by EMI Music Publishing Japan Ltd.

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              Details

              Ändern
              • Erscheinungsdatum
                • 17. November 2005 (Deutschland)
              • Herkunftsland
                • Japan
              • Offizielle Standorte
                • Mad House Ltd. / Sony Pictures Online (Japan)
                • Sony (United States)
              • Sprachen
                • Japanisch
                • Spanisch
                • Englisch
              • Auch bekannt als
                • Héroes al rescate
              • Produktionsfirmen
                • Dentsu
                • Genco
                • Madhouse
              • Weitere beteiligte Unternehmen bei IMDbPro anzeigen

              Box Office

              Ändern
              • Bruttoertrag in den USA und Kanada
                • 367.131 $
              • Eröffnungswochenende in den USA und in Kanada
                • 29.259 $
                • 18. Jan. 2004
              • Weltweiter Bruttoertrag
                • 605.610 $
              Weitere Informationen zur Box Office finden Sie auf IMDbPro.

              Technische Daten

              Ändern
              • Laufzeit
                1 Stunde 32 Minuten
              • Farbe
                • Color
              • Sound-Mix
                • Dolby Digital
              • Seitenverhältnis
                • 1.85 : 1

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