Tokyo Godfathers – An Animated Delight

After the success of Perfect Blue, the question on everyone’s mind was “what’s next for Satoshi Kon”. Considering the serious tone of that movie, many wondered if it was time for him to direct a live action film. The suggestion was thrown at him tirelessly, but he simply answered: “I have no desire to make a live action film”. To Kon, there was something in the medium of animation that gave him the freedom to realize his vision. Walt Disney onced said “Animation can explain whatever the mind of man can conceive” and Kon believed that. Animation, for him, could be a way to trully abstract reality, thus reaching the back of our minds.

Now, contrary to popular belief, abstracting is not necessarily creating something that’s surreal. The concept itself is very vast, but its essence is to highlight a certain aspect of reality. Something as simple as two circles and a line could end up being an abstraction of a face, for example. So, in the same way something like Picasso’s cubist paintings convey more emotion than a highly detailed human face, animation can make normal gestures feel more real through its display of them. Satoshi Kon is already well known for delving into surreal territory (like with Perfect Blue and Paprika), but with Tokyo Godfathers, we found him at his most earnest, using animation to exaggerate real life in a convincing and nuanced manner. The film is grounded in reality, but is execution is nothing short of abstract.

Meet the Godfathers 

Loosely based on John Ford’s western drama, The three godfathers, Tokyo Godfathers follows Miyuki, Hana, and Gin, three drifters who find themselves unexpectedly caring for an abandoned baby. This sets off a fun adventure in which they must return the baby to her parents. The godfathers are the story’s true focus, as their journey is ultimately an opportunity to explore their personalities and history. Miyuki, Hana and Gin each have their own backstory, doubts, traumas and relationships which come into play throughout the film. Its also important to note that they’re all members of society’s lower classes. The movie wants the viewers to consider how they came into that situation and what it means for them now to take care of the baby.

The charismatic trio is brought to life thanks to the voice actors and the direction Satoshi Kon took with them. The line-delivery of the movie is fantastic, with the characters bouncing off each other with ease and charisma. It’s also clear just from hearing the voices that the movie was a blast to record. The chemistry at display is so powerful you could even hear the voice actor smiling.

The godfathers’ characters designs is also a notable stand out of the film. They’re not only memorable, but rooted in realistic standards, a combination that is hard to pull off successfully. At first glance, they might appear very similar, with their baggy clothes and scarfs. However, the more you look at them, their differences become immediately apparent. Just like in the movie, despite their share background, the small details are what make them special. So lets explore them.

Miyuki

Our first character is Miyuki, the youngest of the trio and a fugitive running away from her family. The reason for her self-imposed exile is first unclear, but as the film progresses, we learn more about her previously sheltered life. As would be expected of someone in her situation, she has a deep desired to be seen as an independent woman. However, as the youngest of the godfathers, it’s clear she depends on Gin and Hana. This, to an extent, bothers her, but she is also a grateful person who wouldn’t change her friends for anything.

Considering the plot is about taking a baby back to their parents, we can see how this would affect her.  Miyuki’s arc is all about coming to terms with how her sudden leaving may have impacted her family. For her, helping this baby might be a way to know how they feel.

Hana

Next is Hana, a Trans girl and former drag queen that ends up being the mother figure of the story. She is not only the most energetic out of the godfathers, but is also the most nuanced character present.  At first, she seems delusional, embarking on the adventure for what seems like arbitrary reasons. She is dramatic and  kind of superstitious, so the child coming into their lives is first seen as a gift from god. However, in an almost Shakespearean turn of events, as the story progresses she becomes the voice of reason.

Gin

The last of the godfathers is Gin, an alcoholic that, according to himself, was once a famous competitive cyclist. As the movie goes on, we learn that Gin is in pathological liar, never telling the truth about himself. The competitive cyclist point comes into question, off course, but more relevant is his previous life as a father and a husband. We won’t spoil what comes out of it, but the moment culminates in an emotional gut punch.

Gin past and constant avoidance of it is relevant for the role he serves in the story: he is the father figure. With help from Hana, Miyuki and specially the baby, there is a sense he might be able to redeem himself. Maybe, by doing right for this child, a truth about himself could come out.

Taking advantage of the medium 

In this reviewer’s humble opinion, Tokyo Godfathers is one of the most genuinely funny movies one could experience; a lot of it accomplished by animation alone.  Don’t get me wrong, the script is fantastic and the previously mentioned line-delivery makes every joke stand out. However, it’s in combinations with the animation, that these jokes are able to stick in your head.

The film is largely influenced by American cartoons, with the animation echoing the fluidity and slapstick hilarity of the Looney Tunes or the early days of hand-drawn visuals. It is simultaneously amusing and jaw-dropping. As the technological wonder it is, it’s impressive how they make these characters move so distinctly; and as a comedy, these movements are hilarious in it off themselves.

Of course, the movie is not all laughs. The animation also makes the emotional scenes feel even more powerful.  Satoshi Kon is known for exploring potent emotions in animation, and you shouldn’t expect him to hold any punches here.  When the fluid movements want to be in service of something more akin to human tragedy, Tokyo Godfathers delivers.

The way the characters move, from simple mouth movements to the more complex actions scenes, is all in service of developing their personalities.  Small details, like the way certain characters’ chins pop up during scenes where they want to show themselves as more authoritative; or the way the faces shiver when they’re crying, make them feel real. Their expressions are done so well, one could tell a character’s entire personality just by looking at them for a couple of frames.

The Tokyo Godfathers Soundtrack

The soundtrack was composed by world-renowned video game composer Keiichi Zuzuki, mostly known for scoring the Mother/Earthbound series. Zuzuki’s work on the film sounds similar to that of his classic video game work, with the Harry Nilson and Beatles inspiration that made those soundtracks special. The songs in questions are charming, atmospheric, upbeat, mellow, and are always in service of the story Satoshi Kon wants to tell. The final result is a soundtrack that aims to encapsulate both the setting of low class Japan, and the emotional adventure the characters embark on. And, overall, it succeded.

Comprised of thirty-eight tracks in total, we would recommend you listen to it and enjoy the ride. Some of our personal highlights are the songs: No 9, which samples and remakes Beethoven’s nine symphony, and also the title track, Tokyo Godfathers, which has an upbeat energy which echoes the tone of the film.

A Christmas film

Satoshi Kon and screenwriter Keiko Nobumoto stated they wanted to make the story as simple as possible, and they did. Mind you, “simple” doesn’t mean it lacks complexity, rather, the story is easy to follow and get emotionally invested in. That being said, even at his most simple and comprehensible, Satoshi Kon finds ways to play around.

The way scenes flow between one another seem like complete accidents and something that could only be described as “the magic of Christmas”. Our protagonist bumps into major characters randomly, they end up winning the lottery without realizing it, moments of high intensity get resolved by random Deus ex machina, etc.  These things would be upsetting for viewers if it wasn’t for the fact that the movie is completely self-aware. I would argue that this not only makes the movie funnier, but makes it more like other Christmas stories out there. Because yes, everyone lived happily ever after, and that’s ok, no point in arguing with the magic of Christmas.

On that note, I wouldn’t classified Tokyo Godfathers a children’s movie, but I wouldn’t call it an adult film either. The film is capable of tackling serious topics, but it’s also able to do so in a comedic and lighthearted way. If anything, the film “gets away with it”, taking themes that have no business being a family movie, and getting the best of both worlds. To summarize: it’s an enjoyable film, and every single audience member will find something to like about it.

Christmas Eve

Tokyo Godfathers is an animated delight. In its very simple narrative and story structure, it has all the elements that make a compelling narrative. Additionally, the movie is a technical marvel, making the best out of every single element in the medium of animation.