Tokyo Godfathers

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.

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.

At first glance, I wasn't sure if I would like this movie. The "miracles DO happen on Christmas" cliché is very boring and I typically don't enjoy movies that employ it, but this is a very different kind of Christmas movie.

We are given three homeless characters with complex personalities and backgrounds, who are as endearing as they are repellent. They take up the task of caring for a baby they found in the trash, and trying to bring it back to its mother. We learn the secrets that made these people homeless, we learn about the workings of human shame and desperation, and we learn that "miracles DO happen on Christmas." But in the least cheesy way possible!

The plot is very slow-moving, but still, it is interesting and very carefully laid out. This would be a very compelling live-action movie, but the use of animation adds so much visual interest, particularly the expressive (and sometimes hideous!!) face of Hana, the gangly transvestite. The choice of music is unique and very fitting: the song played during a walking-around-the-city montage is reminiscent of Clockwork Orange.

Interesting and careful story, complex and realistic story, tremendous visual appeal and excellent music. I guess this movie pretty much has it all!

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.

No spoilers - you just have to see it. Satoshi Kon continues his directorial success with Tokyo Godfathers. Like Perfect Blue and Millennium actress, TG wows the watcher immediately with the attention to detail. The scenes are exquisitely painted - when it is snowing you can almost smell it and feel the stillness. And the characters expressions convey emotions expertly by subtlety or caricature as occasion demands. Leave behind your Hollywood ideas of what a movie or worse, a cartoon should be. And then go see his previous two films as well. Satoshi Kon's films are true works of art.