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Tokyo Godfathers (東京ゴッドファーザーズ, Tōkyō Goddofāzāzu) is a 2003 Japanese animated tragicomedy adventure film written and directed by Satoshi Kon. The film is the third film that Kon directed, and the second film that he both wrote and directed. Unlike the previous two, Tokyo Godfathers stars live-action actors such as Toru Emori, Yoshiaki Umegaki, and Aya Okamoto as the lead voice actors.

Tokyo Godfathers
Theatrical release poster
Directed by	Satoshi Kon
Screenplay by	Keiko Nobumoto Satoshi Kon
Story by	Satoshi Kon
Produced by	Shinichi Kobayashi Masao Takiyama Taro Maki
Starring	Tōru Emori Yoshiaki Umegaki Aya Okamoto
Cinematography	Katsutoshi Sugai
Edited by	Takeshi Seyama Kashiko Kimura
Music by	Keiichi Suzuki Moonriders
Production company	Madhouse
Distributed by	Sony Pictures Entertainment Japan
Release dates	August 30, 2003 (2003-08-30) (Big Apple Anime Fest) November 8, 2003 (2003-11-08) (Japan)
Running time	92 minutes
Country	Japan
Language	Japanese
Budget	$2.4 million[1]
Box office	$847,106[2]

Kon was inspired by the 1948 American film 3 Godfathers to make the film.[3] Unlike Kon's other films, Tokyo Godfathers contains no fantasy elements nor does it explore themes of the lines between fiction and reality, instead being grounded more in realism.[4][5] However, as is typical of Kon's work, the film includes devices that are not straightforward, and Kon himself called it a twisted sentimental story.[6]

Tokyo Godfathers was released in Japan on November 8, 2003, and in North America on January 16, 2004.[7][8] It won the Excellence Award at the 2003 Japan Media Arts Festival[9] and Best Animation Film at the 58th Mainichi Film Awards.[10][11]

Plot

One Christmas Eve after watching a children's performance of the nativity scene, three homeless people – a middle-aged alcoholic man named Gin, a transgender woman named Hana, and a dependent teenage runaway girl named Miyuki – discover an abandoned newborn while searching through the garbage for presents. Deposited with the unnamed baby is a note asking the unknown finder to take good care of her and a key, leading to a bag containing clues to the parents' identity. The trio sets out to find the baby's parents. The baby is named Kiyoko (清子) by Hana, based on the Japanese translation of "Silent Night" literally meaning "pure child", as she is found on Christmas Eve. Outside a cemetery, the group encounters a high-ranking yakuza boss trapped under his car. The man happens to know the owner of the club where Kiyoko's mother used to work; his daughter is going to be marrying the club's owner that day. At the wedding reception, the groom tells them that the baby's mother is a former bar girl named Sachiko. He gives them Sachiko's address, but the party is interrupted when a maid, revealed to be a Latino hitman in disguise, attempts to shoot the bride's father. The hitman kidnaps Miyuki and baby Kiyoko while holding them hostage at gunpoint and takes them back to his home. There, Miyuki befriends the hitman's wife who happens to have a child of her own and they begin bonding (despite their language barrier). While looking through old photo albums, Miyuki tearfully confesses to fleeing her home after stabbing her over-controlling father Ishida when her beloved cat Angel went missing (believing that he had gotten rid of it).

Hana searches for Miyuki and Kiyoko while Gin takes care of an elderly homeless man who is dying in the street. After giving Gin a little red bag, the old man peacefully passes away. Some teenagers show up and beat up Gin and the dead old man's corpse. Meanwhile, Hana finds the girls and they go off to find a place to stay. They go to Angel Tower, a club where Hana had worked at before quitting her job for assaulting a rude and intoxicated customer years ago. Gin, who was rescued by another member of the club, is also there. While there, it's learned that Hana had become homeless when her lover Ken had died from injuring himself after slipping on a bar of soap in the bathroom. The trio set out to find Sachiko's house, but they discover that it has been torn down. They are informed of the unhappy relationship between Sachiko and her husband, who is a gambling alcoholic. The group rests at a store until they are told to leave by the clerk. Hana collapses, and is taken by Gin and Miyuki to the hospital. Once at the hospital, Gin finds his estranged daughter, who is also named Kiyoko, working as a nurse. Hana berates Gin in front of his daughter and storms out of the hospital, with Miyuki following behind with baby Kiyoko in hand. Hana and Miyuki find Sachiko about to jump off a bridge. Sachiko insists that her husband got rid of the baby without her knowledge, and that they return the baby to her.

Gin finds Sachiko's husband, who confirms a TV report Gin saw earlier that Kiyoko was actually stolen by Sachiko from the hospital. They chase after Sachiko and Kiyoko. After an intense car chase, Miyuki chases Sachiko to the top of a building. Sachiko reveals she became pregnant in hopes it would bring her closer to her husband. When her baby was stillborn, she decided to kidnap Kiyoko from the hospital's nursery, thinking, in her grief, the baby was hers. As Sachiko is about to jump off the building intending to commit suicide with Kiyoko in her hands, her husband comes out of his apartment, located just across the street, and begs her to start over with him. Sachiko jumps off nevertheless, but Miyuki manages to catch her before she falls, but then Sachiko accidentally drops Kiyoko. Hana jumps off the building after Kiyoko, catches the baby, and lands safely due to a miraculous gust of wind. Hana, Miyuki, and Gin are taken to the hospital. Miyuki hands Gin his cigarettes and drops the old man's small red bag on the floor, revealing a winning lottery ticket. Kiyoko's real parents want to ask the trio to become her godparents. When a police inspector introduces them to the trio, the inspector is revealed to be Miyuki's father.

Cast

Tokyo Godfathers cast

Character	Japanese	English
		Animax/ Red Angel Media[12]	GKIDS/ NYAV Post (2019)[13][14]
Gin	Tooru Emori	Darren Pleavin	Jon Avner
Hana	Yoshiaki Umegaki	Russel Wait	Shakina Nayfack
Miyuki	Aya Okamoto	Candice Moore	Victoria Grace
Kiyoko	Satomi Koorogi		Kari Wahlgren
Oota	Shouzou Iizuka		Jamieson Price
Mother	Seizou Katou		Kate Bornstein
Yasuo	Hiroya Ishimaru		Kirk Thornton
Homeless Man	Ryuuji Saikachi		David Manis
Ishida	Yuusaku Yara		Crispin Freeman
Sachiko	Kyouko Terase		Larissa Gallagher
Gin's daughter Kiyoko	Mamiko Noto		Erica Schroeder
Doctor	Akio Ootsuka		Jamieson Price
Arao	Rikiya Koyama		Michael Sinterniklaas
Kurumizawa	Inuko Inuyama		Philece Sampler
Yamanouchi	Kanako Yahara		Philece Sampler
Cat Lady	Rie Shibata		Erica Schroeder
Taxi Driver	Kouichi Yamadera		Marc Thompson

Additional voices

Japanese: Akiko Kawase, Akiko Takeguchi, Atsuko Yuya, Bin Horikawa, Chiyako Shibahara, Eriko Kawasaki, Hidenari Umezu, Kazuaki Itou, Masao Harada, Mitsuru Ogata, Nobuyuki Furuta, Toshitaka Shimizu, Tsuguo Mogami, Yoshinori Sonobe, Yuuto Kazama

English (GKIDS):[14] Crispin Freeman, David Manis, Erica Schroeder, Jaden Waldman, Jamieson Price, Jordan Cole, Kirk Thornton, Lexie Foley, Gloria Garayua, Marc Thompson, Michael Sinterniklaas, Orlando Rios, Philece Sampler

Production

During the production of Millennium Actress, a producer from Madhouse asked Kon if he had any plans for his next film. After completing the film, Kon took two months to write and submit a brief proposal, which was immediately accepted by Madhouse.[15]

The original story and screenplay were written by director Satoshi Kon, and co-written by Keiko Nobumoto, known as the screenwriter of the TV drama series Hakusen Nagashi and the TV anime Cowboy Bebop, and the creator of the TV anime Wolf's Rain.[6] Kon had previously asked Nobumoto to write the script for Perfect Blue, but she was turned down at that time, citing her busy schedule.[16] The animation director was Kenichi Konishi, who had worked on My Neighbors the Yamadas while at Studio Ghibli, and the Studio director was Shogo Furuya.[6]

While the previous two works focused on the progression of the story, this work prioritized the theatricality of the characters and their presence above all else in both the scenario and storyboarding.[6] Although the story and theatrics are quite comical in appearance, the film was created not to return to the old-fashioned manga interpretation, but to aim for a manga interpretation that lies ahead after going through real-oriented animation.[6]

The film was produced in digital technology, and all of Kon's subsequent works are digital animation.[17]

Themes

The motif of the film is "coincidence" and "family," and the rough plot is about "three main characters who are not related by blood but live together as if they were a real family, and through a miraculous coincidence triggered by a baby, each of them recovers the connection with their original family that they have lost.[4]

The film does not adopt an overt "mixing of fiction and reality" motif, but a careful look reveals that the relationship between "fiction and reality" is conscious in this film as well.[6][18] What Kon was conscious of in his direction was "meaningful coincidence," in other words, to create a chain of miraculous events to move the story forward.[3] Kon writes in the press sheet, "This film is an attempt to restore in a healthy way the 'miracles and coincidences' that have been pushed into the other world by the weapons of scientific logic," and just as that sentence says, "meaningful coincidences" and "impossible events" happen one after another in the film.[18] In other words, the idea of this film is that the "fiction" of "miracles and coincidences" can be found in the seemingly real life of the homeless in Tokyo. The director's aim is to portray a series of events that could never happen in reality with a sense of reality and persuasiveness that makes it seem possible.[18]

Kon said: "Homeless people, as the term implies, "have no home," but in this film, it is not just "people who have lost their homes," but also "people who have lost their families," and in that sense, this film is a story about recovering lost relationships with families."[4][19] The reason why Kon chose homeless people as the main characters is because he was interested in the existence of homeless people even before he came up with the idea of the film project.[20] One of the triggers for Kon to come up with this work was the idea that they are born even in times of affluence, and at the same time, they are supported because the world is affluent, so they may be said to be kept alive by the city.[20] The other idea was the idea of animism in the city, that even the buildings and alleys of the city may have a soul, and that the main characters step into the other world that overlaps the city.[20] Based on a story in which 3 homeless people living like pseudo-families pick up a baby and try to return it to her parents, Kon imagined a story in which the three people enter a "different world" where strange coincidences occur in succession, and they recover their relationship with their families and society through their adventures, and another protagonist named "Tokyo" is watching over them.[20] In fact, "landscapes that look like faces," in which the outdoor units of air conditioners and windows are used as eyes and mouths, are embedded in various cuts, which could be said to be the figures of the gods of the city staring at the main characters.[21] These "faces" are not visible from the perspective of the characters, and only the audience can notice them.[21] Kon has also created a fiction here. The film's background is a trick of overlapping two layers of information: "the city scenery = reality for the characters" and "the scenery with faces that only the audience can see = a kind of fiction", even though it is the same single picture.[21]

The setting of the three main characters, who are not blood related, had the condition that they look like a family.[20] It was not so much an exaggeration as a suggestion of a "new image of the family in the future," but simply a suggestion that Kon's idea of a family with this kind of relationship might be acceptable. Kon's idea was to suggest that it is necessary to find a way for each person to have their own family, rather than a standardized model of what a new family should look like.[19] Kon said that he did not intend to portray homeless people as representatives of weakness and unhappiness, or as a hindrance to society, and that the three are symbols of everyone's weaknesses and regrets rather than real homeless people.[20] He also said they are unhappy not because they are homeless, but because their lives have lost their former glow, and that happiness lies in the process of recovery, which is the story of this work itself.[20]

Release

This movie was released in North America by Sony Pictures on December 29, 2003 in an unsuccessful attempt to get an Academy Award nomination for Best Animated Feature.[22] The movie was released on sub-only DVD on April 13, 2004,[23] and they planned to use DTS for the DVD, but was ultimately scrapped.[24] Announced on December 19, 2019, international animation licensor, GKIDS, in partnership with the original US distributor Destination Films, released the movie on March 9, 2020 with a brand new 4K restoration and a new English dub.[25]

Reception

The review aggregation website Rotten Tomatoes reported that 91% of critics have given the film a positive review based on 74 reviews, with an average rating of 7.1/10. The critics consensus states, "Beautiful and substantive, Tokyo Godfathers adds a moving – and somewhat unconventional – entry to the animated Christmas canon."[26] On Metacritic, the film has a weighted average score of 73 out of 100 based on 25 critics, indicating "generally favorable reviews."[27] Roger Ebert gave the film three stars out of four, calling it "harrowing and heartwarming."[28]

Movie critic George Peluranee notes that "Tokyo Godfathers is a film that shows the small yet significant ties that each of us have with supposed strangers, and tells well the story of miracles, family, love, and forgiveness."^{[citation needed]}

Susan Napier points out that Tokyo Godfathers is part of a trend in anime and manga as depicting families in an increasingly dark fashion, showcasing the problems with traditional families, and attempts by people to construct a "pseudo-family" out of an increasingly fragmented and isolating modern Japanese society.[29] It is put forth that despite the seeming criticisms of traditional families throughout the film, it ends with a more conservative feeling as everyone returns to their traditional/original families. Despite its seemingly traditional ending, the film offers a more radical version of family. Throughout the story these three homeless vagabonds unknowingly form a "pseudo-family" to protect themselves from the outside world and to overcome their personal demons.[29]

See also

• Homelessness in Japan
• Japanese films of 2003

References

External links

• Tokyo Godfathers (film) at Anime News Network's encyclopedia
• Tokyo Godfathers at IMDb
• Tokyo Godfathers at Box Office Mojo
• Tokyo Godfathers at AllMovie
• "東京ゴッドファーザーズ (Tōkyō Goddofāzāzu)" (in Japanese). Japanese Movie Database. Retrieved 2007-07-21.

На других языках

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- [en] Tokyo Godfathers

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[ru] Однажды в Токио

«Однажды в Токио» (яп. 東京ゴッドファーザーズ То:кё: Годдофа:дза:дзу:, Tokyo Godfathers) — полнометражный аниме-фильм режиссёра Сатоси Кона, выпущенный в 2003 году.

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