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Director - Satoshi Kon. countries - Japan. Release year - 2003. average ratings - 8,1 of 10 Star. writer - Satoshi Kon. Yoshiaki Umegaki.

Before I saw this film I had heard that it was one of the best anime films ever and it had appeared on some peoples list of favorite films. So I leaned back and watched this beautiful anime about three bums who find a baby in a dumpster and they start looking for the baby's parents. The amazing thing about this movie is that it is never boring, something happens all the time. I also love the type of films where things happens by chance. The Characters in the movie are very funny and human and the characters and the the environment are very realistic created. One of the best anime movies I have seen. It's nearly as good as "Akira" on of my favorite movies. Tokyo Godfathers will become a classic.

 

If there is one person still believing that anime is "purely kids and naive-minded stuff" then this movie is the one to see. Dealing with social issues of the modern Japan is already an almost unheard theme in Japanese animation and the ease this movie portraits its anti-hero and japan-lowlife protagonists is just mind-blowing.
The formula of connecting three very different people together, similar to the great first "Ice Age" to send them on an Odyssey through adventures and finally through their own emotions works fabulous. The characters are rich on depth and complex personalities, sometimes even reminding to director-legend Akira Kurosawa's figures. The story is gripping and moving with stark and sometimes even gritty moments, which push the limit on what can be done with animation.
All this praise is tarnished by the once again awful dubbing. Translating Japanese enthusiasm into English is tough, no question about that. Still i think the voice actors could have done much better. As such it's not recommendable to watch the English-dubbed version. Rather go for subtitles.
Nevertheless, this movie is an important piece in anime history and once again shows that anime has to be taken as serious as a genre as real world cinema.
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In his first two animated films, Millennium Actress and Perfect Blue, Japanese writer-director Satoshi Kon used the professional illusions of actresses to play subtle, dizzying games with his characters' reality and identity. In his new anime comedy Tokyo Godfathers, by contrast, the three main characters announce their identity loudly, often, and unsubtly: We're homeless. their irascible alcoholic semi-leader (voiced by Toru Emori) snaps whenever he feels slighted and wants his situation openly acknowledged, or whenever he doesn't feel slighted enough to suit his own self-hatred. Along with a young female runaway (voiced by Aya Okamoto) and a gushy gay transvestite (Yoshiaki Umegaki) Emori lives in a cardboard house in a Tokyo park and subsists on Dumpster pickings and charity meals. Each member of his triumvirate hides behind a minor personal illusion: Emori claims to be a tragically widowed former cyclist; Okamoto pretends to be tough and apathetic, but secretly weeps whenever she's reminded of the home she left; and Umegaki surrounds himself with protective fictions, from the carefully positioned beach posters on his walls to his wistful crush on the brutally contemptuous Emori. But when the trio finds a screeching baby in a trash heap on Christmas, their meager illusions are gradually swept away. Each identifies with the infant in one way or another, and by attempting to reunite her with her family, they reunite with their own estranged pasts. Kon's major cinematic conceit is that the abandoned infant serves as a remarkable source of luck, and possibly even a "messenger from God" nothing else could explain the film's incessant bizarre coincidences. Even assuming a heavy dose of divine intervention, some of Tokyo Godfathers' plot twists don't make sense, but Kon appears more interested in feel-good Christmas miracles and broad caper-movie comedy than in detective logic. The results are funny and even touching, but also slight, cutesy, and more than a bit pandering, especially by comparison with Millennium Actress and Perfect Blue 's giddy challenges. And Tokyo Godfathers' lighter tone and real-world focus give Kon a lot less room for his characteristic visual bravura. Without action setpieces to fill the screen with motion, his simple, squared-off, caricature-ridden animation just looks bland. He compensates with random fantasy elements and chase sequences, but no amount of shoehorned-in razzle-dazzle can keep this forced fable from feeling like a shadow of Kon's early work.

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