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.
- Auszeichnungen
- 8 Gewinne & 1 Nominierung insgesamt
Tôru Emori
- Gin
- (Synchronisation)
Yoshiaki Umegaki
- Hana
- (Synchronisation)
Aya Okamoto
- Miyuki
- (Synchronisation)
Shôzô Îzuka
- Ôta
- (Synchronisation)
Seizô Katô
- Kâ-san
- (Synchronisation)
Hiroya Ishimaru
- Yasuo
- (Synchronisation)
Ryûji Saikachi
- Rô-jin
- (Synchronisation)
Yûsaku Yara
- Miyuki no chichi
- (Synchronisation)
Kyôko Terase
- Sachiko
- (Synchronisation)
Mamiko Noto
- Gin no musume
- (Synchronisation)
Akio Ôtsuka
- Isha
- (Synchronisation)
Rikiya Koyama
- Shinrô
- (Synchronisation)
Satomi Kôrogi
- Kiyoko (Ôta's daughter)
- (Synchronisation)
Handlung
WUSSTEST DU SCHON:
- WissenswertesThe 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.
- Crazy CreditsThe opening credits appear on billboards, store signs, truck lettering, etc.
- VerbindungenFeatured in Troldspejlet: Folge #31.16 (2004)
- SoundtracksClimb Ev'ry Mountain
Lyrics by Oscar Hammerstein II
Music by Richard Rodgers
©1959 Williamson Music Co.
Licensed by EMI Music Publishing Japan Ltd.
Ausgewählte Rezension
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.
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.
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Details
- Erscheinungsdatum
- Herkunftsland
- Offizielle Standorte
- Sprachen
- Auch bekannt als
- Một Đêm Tuyết Phủ
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Box Office
- Bruttoertrag in den USA und Kanada
- 367.131 $
- Eröffnungswochenende in den USA und in Kanada
- 29.259 $
- 18. Jan. 2004
- Weltweiter Bruttoertrag
- 459.203 $
- Laufzeit1 Stunde 32 Minuten
- Farbe
- Sound-Mix
- Seitenverhältnis
- 1.85 : 1
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