Review: Tokyo Godfathers (2003) · 2:55am Oct 11th, 2015
Proving once more he was not to be pigeonholed, Satoshi Kon followed his sweeping epic Millennium Actress with a low-key, whimsical and heartfelt dramedy focusing on three homeless misfits, whom, on Christmas Eve, discover an abandoned baby, which sends the trio on a madcap journey through the backstreets of Tokyo, encountering everything from Yakuza to Latin American migrant workers in a story that not only manages to make you laugh, but also is a deeply heartfelt story of how the trio eventually heal their own personal wounds, and mend fences with their loved ones.
Satoshi Kon once more shows his beautiful eye for editing, using it to propel the story forwards, giving both plot and character details through wonderfully fun Madhouse Animation. Expertly walking a fine line between subtle and broad, the animation fills every character with life and vigor, with their own ticks and mannerisms.
On top of that, his screenplay is delightfully witty and insightful, not only giving some knowing commentary on the life of the homeless in Tokyo, but also on the broader texture of Japanese culture, without ever feeling condescending or mean spirited. Instead, it feels like genuine observations, tempered with a dry wit and sarcasm that goes so beautifully with the material. In a story that plays out almost like a screwball comedy from an older time, he takes his characters on a whirlwind tour of the city, throwing all sorts of hilarious obstacles in their way, only to have them beat the odds in an increasingly miraculous series of circumstances.
The music fits this tone, being both wacky and heartfelt, and the shifts in tone from comedy to more serious stuff is done seamlessly. The voice acting (this time I watched the sub) is great, giving each character a unique voice and personality, and it's run time is a brisk 85 minutes, allowing the story time to breathe, without sacrificing pacing.
Suffice to say, Tokyo Godfathers is a delightfully hilarious and heartfelt film. It's a far cry from the psychological horror of Perfect Blue, or the melancholic nostalgia of Millennium Actress, but it still feels like a Satoshi Kon film, and it serves a wonderfully FUN film for anybody who loves anime, comedy, or film in general.
5 out of 5.
I didn't know Latin American immigrants were a presence in Japan.