Tokyo Godfathers

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.

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.

I was able to see "Tôkyô Godfathers" at its premiere in New York. Sadly, the film was not added to the IMDb until months later, so I've had to sit on my comments for some time.

I'm a big fan of director Satoshi Kon. Both of his previous films feature stories and issues not normally seen in animated films. "Godfathers" continues this happy trend and goes even further by covering subjects not normally associated with Japan, period. Homelessness, immigrants, and homosexuality all play key elements in this tale.

Perhaps the biggest difference here is the comedy, something Kon's previous films did not approach. "Perfect Blue" was a dark thriller and "Sennen Joyû" was more of a tearjerker. "Godfathers" is played for laughs, which for me weakened the movie a little bit. Some of the more outrageous moments made the other theatergoers crack up, but I felt it was a little too silly at times.

While I would describe "Tôkyô Godfathers" as the weakest of Kon's three films to date, that's hardly a knock since his first two are among my favorites. "Godfathers" was just missing something, but I still openly recommend it to anyone, regardless of your disposition towards anime.

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.

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.