Tokyo Godfathers (2003) - Three Wise Men and a Baby

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If, this festive season, you're looking for a Christmas movie with genuine class and intelligence, the darkly comic Tokyo Godfathers (2003) is a 92 minute gift to yourself. 

Already a fan of director Satoshi Kon’s work (in particular, the iconic horror Perfect Blue and anime thriller Paranoia Agent) I had long been anticipating a time when I would finally get to watch this unique re-imagining of... the birth of Jesus Christ. (Literally.)

Tokyo Godfathers kicks off on a Tokyo Christmas Eve, and three homeless persons stumbling upon an abandoned new-born girl, hidden in the garbage. This small trio of ragtag misfits then embark upon a fantastical, yet grimly real, quest to return the baby to her birth mother.

Leading the group is irascible middle-aged alcoholic, Gin, who has a past as dark as his beard. Next there’s transgender ex-drag queen Hana, who yearns to be a true mother to their little foundling. Finally, teenage runaway, Miyuki. (Woooah, she’s a little runaway… sing it with me now.) “Daddy Issues” doesn’t even begin to cover it with Miyuki.

In the sleet and snow, through dangers bizarre - such as a shoot-out at a Yakuza wedding, and dangers real - drunken teens embarking upon some homeless bashing, (literally, with metal bars), regardless, these three wise men keep following that star of hope.

Against all odds, Gin, Hana and Miyuki will return this child and let her have the family, love and life that they themselves either never knew, or had - and lost.

Farcical and occasionally harrowing, Tokyo Godfathers is a master class in social storytelling, with a careful unfolding of backstory, beautiful character growth and jaw-dropping plot twists. Miracle upon miracle too surreal to be mere “coincidence” is witnessed at every life-saving turn in the movie and not once does it feel contrived or hackneyed.

The trio’s journey, both emotional and actual, could have been non-existent had they just deposited the wee bairn at the nearest kōban (police box) from the off.

However, if they had done that, the viewers would have been deprived of a thought-provoking and poignant tale of family and redemption. Traditional values challenged, this is a film that firmly believes family doesn’t just mean those to whom you share a blood tie, but with whomever loves you.

A quirky, yet oddly eerie, band of synths soundtrack the hobos on their merry way around a bleak urban landscape. The city itself becomes an almost God-like character, coldly observing the stark poverty cohabiting with Western prosperity in the form of McDonalds and other mega chain stores. Billboards advertising affluence and happy smiling families blot out the sky. Tokyo Tower itself presides over almost every scene like an indifferent patriarch, as the city plods along.

Let us not forget the exquisite animation and its muted, rustic palettes of autumnal browns, reds, and mustard yellows. The realism in the artwork adds to the authenticity of the characters and their surroundings. Directed by Satoshi Kon, but written alongside Keiko Nobumoto, this is a heart-warming holiday classic with bite.

Forget your big Hollywood festive willy-waving contests, if you want a film that captures the true, pure meaning of actual Christmas - a child, hope, love, and family - add Tokyo Godfathers to your watchlist this December.

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