Dumpster diving on Christmas eve, a trio of homeless chums discover an abandoned infant and set out to find its parents. Not just to scold them for being so callous, but to also learn what could possibly motivate someone to do such a thing. En route, they discover a thing or two about one another - mismatched, adopted family as they are - and realize a certain degree of peace within themselves.
Satoshi Kon’s most popularly accessible film, Tokyo Godfathers straightens the narrative in comparison to his other, trippier efforts. Which isn’t to say it’s overly simplistic or less stylized. It merely adds its wrinkles in different, subtler ways. Stretched truths and unreliable narrators take the place of Paprika’s dream sequences or Perfect Blue’s surreal fantasies. Less challenging, perhaps, but also more pragmatic than the loftier, artier films in his too-brief portfolio. It’s different, but it’s still clearly a Kon, with its knack for small details, effective emotional punches and understated sense of humor.
Sweet, funny and grounded, Tokyo Godfathers constantly flashes a dry wit and, although it often tugs at the heart strings, things never get overly soft or weepy. The three leads are diverse and interesting, each with an onion skin of personal history to explore, and their hunt for answers amidst the overpopulation of a major world metropolis constantly jolts out in surprising new directions. Beautifully written, drawn and animated, it’s often unfairly overlooked.
Review by drqshadowBlockedParent2020-02-06T15:08:49Z— updated 2024-01-04T15:59:48Z
Dumpster diving on Christmas eve, a trio of homeless chums discover an abandoned infant and set out to find its parents. Not just to scold them for being so callous, but to also learn what could possibly motivate someone to do such a thing. En route, they discover a thing or two about one another - mismatched, adopted family as they are - and realize a certain degree of peace within themselves.
Satoshi Kon’s most popularly accessible film, Tokyo Godfathers straightens the narrative in comparison to his other, trippier efforts. Which isn’t to say it’s overly simplistic or less stylized. It merely adds its wrinkles in different, subtler ways. Stretched truths and unreliable narrators take the place of Paprika’s dream sequences or Perfect Blue’s surreal fantasies. Less challenging, perhaps, but also more pragmatic than the loftier, artier films in his too-brief portfolio. It’s different, but it’s still clearly a Kon, with its knack for small details, effective emotional punches and understated sense of humor.
Sweet, funny and grounded, Tokyo Godfathers constantly flashes a dry wit and, although it often tugs at the heart strings, things never get overly soft or weepy. The three leads are diverse and interesting, each with an onion skin of personal history to explore, and their hunt for answers amidst the overpopulation of a major world metropolis constantly jolts out in surprising new directions. Beautifully written, drawn and animated, it’s often unfairly overlooked.