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Tokyo Godfathers (2003)

PG-13  |   |  Adventure, Animation, Drama  |  8 November 2003 (Japan)
7.9
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Ratings: 7.9/10 from 15,672 users   Metascore: 73/100
Reviews: 52 user | 71 critic | 25 from Metacritic.com

On Christmas Eve, three homeless people living on the streets of Tokyo find a newborn baby among the trash and set out to find its parents.

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(screenplay), (story), 1 more credit »
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Edit

Cast

Cast overview, first billed only:
Tôru Emori ...
Gin (voice)
Aya Okamoto ...
Miyuki (voice)
Yoshiaki Umegaki ...
Hana (voice)
Shôzô Iizuka ...
Oota (voice)
Seizô Katô ...
Mother (voice)
Hiroya Ishimaru ...
Yasuo (voice)
Ryûji Saikachi ...
Aged Man (voice)
Yûsaku Yara ...
Miyuki's Father (voice)
Kyôko Terase ...
Sachiko (voice)
Mamiko Noto ...
Kiyoko, Gin's Daughter (voice)
Akio Ôtsuka ...
Doctor (voice)
Rikiya Koyama ...
Bridegroom (voice)
Satomi Koorogi ...
Kiyoko, the Gangster's Daughter (voice)
Mitsuru Ogata ...
Hidenari Ugaki (voice)
Chiyako Shibahara ...
Eriko Kawasaki (voice)
Edit

Storyline

Christmas in Tokyo, Japan. Three homeless friends: a young girl, a transvestite, and a middle-aged bum. While foraging through some trash, they find an abandoned newborn. Hana, the transvestite with delusions of being a mother, convinces the others to keep it overnight. The next day, using a key found with the baby, they start tracking down the parents, with many adventures along the way. Written by Jon Reeves <jreeves@imdb.com>

Plot Summary | Add Synopsis

Taglines:

Meet the ultimate dysfunctional family.


Motion Picture Rating (MPAA)

Rated PG-13 for thematic elements, violent images, language and some sexual material | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

| |

Release Date:

8 November 2003 (Japan)  »

Also Known As:

Héroes al rescate  »

Box Office

Opening Weekend:

$37,127 (USA) (16 January 2004)

Gross:

$128,985 (USA) (2 April 2004)
 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Sound Mix:

Color:

Aspect Ratio:

1.85 : 1
See  »
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Did You Know?

Trivia

Another reference to the Christmas date (12-25) can be found in the electric alarm clock lying among the debris of Sachiko's ruined house. It stopped exactly at 12:25 hours. See more »

Quotes

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.
See more »

Crazy Credits

The opening credits appear on billboards, store signs, truck lettering, etc. See more »

Connections

References The Sound of Music (1965) See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
Sensitive and beautiful
4 September 2005 | by (Israel) – See all my reviews

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.


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