Movie Review: Tokyo Godfathers

So this is what happens when a woman is allowed in the writers room for a Satoshi Kon-directed film.

I am so happy that I watched Tokyo Godfathers last. Millennium Actress, Perfect Blue, and Paprika share so many qualities that there is an undeniable fun that comes from watching them back-to-back as you begin to see the similarities across the films. Yet, they are distinct enough in themes, animation, and time period that they are standalone worth watching. Tokyo Godfathers doesn’t rely on the many shared themes of Satoshi Kon’s other works, this film is linear, paced slowly so that you can feel the world, it’s human, and in many ways simple in that our lives are common, yet often spectacular. Based on how poorly women are written and represented in his other films, I was particularly on guard with a drag queen/transsexual character, but I think they pulled it off. The scenes of the drag club and Hana’s interactions with her drag mother were very resonant and felt authentic. The way they acknowledge the terror in Chiyoko’s story, but also have an easy understanding that these are real things that happen more often than anyone would like to admit. The dynamic between the three main characters is excellent. Each character has excellent motivations and core flaws that play out in believable and meaningful ways, of note is when Gin meets his daughter and Hana tells him off, only to speak movingly about love to Miyuki. Humanity, and love, is messy. It’s a pendulum that’s constantly swinging as we rise above ourselves, only to cast ourselves back into our depths once more. It’s about transgression and redemption. Each character has these moments, yet I never hated or praised any of the characters.

I was moved and I understood, and I think that’s the sign of great character writing and animating. You get to learn something from these characters, rather than judge them. It’s fascinating that a story drownded in Christian iconography and references to also be the only Kon film to have an explicitly queer main character. not sure if there is something there but it stuck out to me - might be the American in me, certainly not the dog. This is also a deeply funny film. I think that anyone who has been homeless or disabled or trans or whatever, understands that in our deepest grief and oppression is authentic joy and humor. It takes a deft hand to authentically represent that, and I think they did a good job. The ending is the only one of this films that I would say added something to the film. It was perfect and predictable, but because the work the film accomplished up until that point, it really worked magic. I enjoyed that this story played out so many facets of motherhood over such a diverse cast of characters, men and women alike. Overall, what a lovely film. Millennium Actress moved me the most, but this is objectively the best from start to finish.