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Release Year - 2003

Comedy

directed by - Satoshi Kon

1 hour 32 Minutes

Rating - 8,6 / 10 stars

review - On Christmas Eve, three homeless people living on the streets of Tokyo find a newborn baby among the trash and set out to find its parents

Plugin not supported. Original title Tôkyô Goddofâzâzu aka AKA Tokyo Godfathers 東京ゴッドファーザーズ Year 2003 Running time 88 min. Country Japan Director Satoshi Kon, Shôgo Furuya Screenwriter Satoshi Kon, Keiko Nobumoto (Story: Satoshi Kon) Music Moonriders, Keiichi Suzuki Cinematography Animation Cast Producer Mad House Ltd. Genre Animation. Drama. Comedy | Poverty. Christmas. Adult Animation Official Site Synopsis / Plot Christmas in Tokyo, Japan. Three homeless friends: a young girl, a transvestite, and a middle-aged bum. While foraging through some trash, they find an abandoned newborn. Hana, the transvestite with delusions of being a mother, convinces the others to keep it overnight. The next day, using a key found with the baby, they start tracking down the parents, with many adventures along the way. Critics' reviews Movie Soulmates' ratings Register so you can access movie recommendations tailored to your movie taste. Friends' ratings Register so you can check out ratings by your friends, family members, and like-minded members of the FA community. Ranking Lists Position 60 My Top 10 Movies from 2003 (30) Is the synopsis/plot summary missing? Do you want to report a spoiler, error or omission? Please send us a message. If you are not a registered user please send us an email to All copyrighted material (movie posters, DVD covers, stills, trailers) and trademarks belong to their respective producers and/or distributors. For US ratings information please visit:.

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Download movie nasii din tokyo 2016. Download movie nasii din tokyo 10. Km puedo ver esa pelicula kompleta. 金曜ロードショーでやってほしい. I LOVE Tokyo Godfathers. I first watched it as a teen, and like it ever since. It is heartwarming, pretty realistic, simple yet deep at the same time. RIP Satoshi Kon.

Download movie nasii din tokyo 2017. Having suffered through the painfully pretentious and shallow, pseudo-Lynchian mess of Perfect Blue, I was understandably skeptical about watching another film by Satoshi Kon (I have not yet seen Millennium Actress, but am now quite intrigued to do so. Tokyo Godfathers (a title which at first struck me as belonging most probably to a pseudo-psychological mafia thriller) was not only a pleasant surprise; it was the best anime feature I've seen in many years, probably since Ghost in the Shell, excluding anything by Hayao Miyazaki. Like the classic Grave of the Fireflies, Tokyo Godfathers struck me as unusual in the fact that it draws much from European cinema – English, Irish, German or Italian – while most commercial anime features try to mimic American film-making. But while Grave of the Fireflies was painfully sad and bleak, Tokyo Godfathers is irresistibly charming, and manages to be funny and incredibly touching at once like few anime films – few animated films, at that – ever achieve.
Tokyo Godfathers is remarkably non-violent, as pacifistic perhaps as Miyazaki's films. You won't find any grand futuristic structures or fantastical creatures here; in fact, the animation may seem crude at first. But the characters are where the film really hits its mark. Kon triumphs, like in his excellent series Paranoia Agent, by not succumbing to the accepted prototypes and standards of how characters should look in an anime film; the lead characters in the film are all gorgeously ugly, in a way that even Miyazaki had not yet dared to do. Even the child character, Miyuki, is chubby, and not cute and beautiful in the way little girls 'should' be, by the unwritten laws of anime. Thus, Kon's characters are believable and true to life; they are three anti-heroes, outcasts from society, each running away from their pasts. Especially charming is Hana (AKA 'Uncle Bag. the golden-hearted transvestite, who supplies much of the film's comic relief but also some of its most touching moments.
Tokyo Godfathers – despite some far-fetched but amusing plot twists and coincidences – is at its core a very simple story, a beautiful little story about family, love and friendship. Few anime films are so unpretending; and thus, few anime films manage to be so strong. Watch Tokyo Godfathers; you'll laugh, you'll cry. And believe you me, ten minutes into it you'll forget it was ever animated.

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Synopsis: Meet the ultimate dysfunctional family. From acclaimed director Satoshi Kon (Perfect Blue, Millennium Actress) and Japan’s leading animation studio Mad House (X, Vampire Hunter D, Ninja Scroll) comes this visually and emotionally stunning tale of adventure, love and redemption. In Tokyo, three homeless people’s lives are changed forever when hey discover a baby girl at a garbage dump on Christmas Eve. As the New Year fast approaches, these three forgotten members of society band together to solve the mystery of the abandoned child and the fate of her parents. Along the way, encounters with seemingly unrelated events and people them to confront their own haunted pasts, as they learn to face their future together. *********************************************************************** Tōkyō Goddofāzāzu 8. 25 eyelights: its blend of drama and humour. its quirky protagonists. its touching tale. its animation style. eyesores: its 2D quality. “This is a Christmas present from God! She’s our baby! ” I’m a big fan of Satoshi Kon. The Japanese filmmaker directed only a few films before unexpectedly passing away in 2010, but I like each one of them. His debut, ‘Pafekuto Buru’ was a psychological thriller that would have made Hitchcock smile. His follow-up, ‘Sennen Joyu’, is a touching period drama invested with more empathy than most films. And then there’s the jaw-droppingly trippy ‘Papurika’, which is challenging but satisfying. Meanwhile, ‘Tokyo Goddofazazu’, his third picture, is his most accessible. Inspired by Peter B. Kyne’s novel ‘Three Godfathers’, it’s a quirky dramedy that follows three homeless people as they try to track down the parents of a newborn girl that they found on the street on Christmas Eve. Relative strangers to one another, Gin, Hana and Miyuki have become a surrogate family – but they support, bicker and make up like the real deal. And like any good family, they take care of their own – including Kiyoko, the family’s new addition. What makes the movie work so well are its mix of various genres, the interplay between its leads, and the way that all the pieces interconnect. Though it’s a lot of elements to coordinate, Kon managed to strike the perfect balance between all the parts, which is an astonishing achievement. One would be hard-pressed to find many other pictures that are as successful at blending humour, melancholy, warmth, mystery and thrills. And a touch of magic. Our trio is also a great balancing act: Gin is an alcoholic former cyclist who left the spotlight after failing to secure the medical help his daughter required; he’s gruff and implacable. Hana is a drag queen who is secretly in love with Gin and who dreams of being a mother; he’s emotional and very loyal. Miyuki is a rebellious young woman who’s run away from home following a familial conflict; she’s sullen and antisocial. They’re quite the cocktail. And yet, they’re genuinely affecting. The plot is developed in a fairly contrived fashion, which one mustn’t challenge in order to truly enjoy the picture, but Kon connected its threads in clever ways; as our “Tokyo Godfathers” scour the city for clues leading them to Kiyoki’s family, every encounter or incident takes them a step further on their investigation – and in their personal journeys, as their own individual past histories are gradually explored and eventually resolved. What’s remarkable about this picture is how it humanizes the homeless without pitying them: it serves up various different motivations and concerns for all of its characters and illustrates quite well the challenges that they face as the perceived dregs of society. And, in the process, it also explores our collective perceptions of family values and familial connections – in ‘Tokyo Goddofazazu’, no family is a picture-perfect “traditional” one. Much as in real life. Though Kon would peak with his next film, his swan song ‘Papurika’, the animation here is also superb. The characters express themselves in mildly cartoony ways, but their motion is realistic enough – and the rest looks life-like. As we visit all over Tokyo, we get to see it through our trio’s eyes, and the backgrounds look very good. Unfortunately, they have a 2D quality to them, but the falling snow sort of adds a third dimension to them. The picture ends on an exciting note, with a riotous chase featuring a stolen truck, a kidnapped baby and a taxi. It’s funny, it’s exciting, it’s wholly entertaining – and, unlike many chases, it doesn’t outlast its welcome. It all wraps up with a stunning rooftop freefall and landing that Kon made beautiful, slowing it down in such a way that he was not only easing his character, but also his audience. He fashioned it into a magical moment. The kind you can only find at Christmas. ‘Tokyo Goddofazazu’ is masterful storytelling. It finds Satoshi Kon at the height of his powers, taking his audience on all sorts of twists that are equally dramatic and hilarious. Here he struck such a fine balance that the picture never lulls, never bores, never feels off-kilter. Were the animation just a touch stronger, this would likely be a genuine masterpiece. Despite this, it’s meaningful enough that it should be seen on par with the classics. On these Tokyo streets, in the company of Gin, Hana and Miyuki, it’s a wonderful life too. Date of viewing: December 1, 2016.

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Download movie nasii din tokyo movie. Critics Consensus Beautiful and substantive, Tokyo Godfathers adds a moving -- and somewhat unconventional -- entry to the animated Christmas canon. 90% TOMATOMETER Total Count: 69 91% Audience Score User Ratings: 13, 854 Tokyo Godfathers Ratings & Reviews Explanation Tokyo Godfathers Photos Movie Info Japanese filmmaker Satoshi Kon directs his third anime feature with the holiday film Tokyo Godfathers. The story takes place in Shinjuku, Tokyo, on Christmas Eve. Middle-aged has-been Gin, aging transvestite Hana, and teenage runaway Miyuki are three homeless friends who have formed a kind of makeshift family structure. Their bond is tested when they find an abandoned baby while searching for food in a garbage dump. They have no choice but to care for the infant themselves. The group travels throughout the city, searching for the baby's parents and coping with their personal reactions to the situation. Tokyo Godfathers premiered at the Big Apple Anime Fest in 2003. ~ Andrea LeVasseur, Rovi Rating: PG-13 (for thematic elements, violent images, language and some sexual material) Genre: Directed By: Written By: In Theaters: Aug 30, 2003 wide On Disc/Streaming: Apr 13, 2004 Runtime: 92 minutes Studio: Sony Pictures Cast Critic Reviews for Tokyo Godfathers Audience Reviews for Tokyo Godfathers Tokyo Godfathers Quotes Movie & TV guides.

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Tokyo Godfathers Theatrical release poster Directed by Satoshi Kon Produced by Shinichi Kobayashi Masao Takiyama Taro Maki Screenplay by Keiko Nobumoto Satoshi Kon Story by Satoshi Kon Starring Tōru Emori Yoshiaki Umegaki Aya Okamoto Music by Keiichi Suzuki Moonriders Cinematography Katsutoshi Sugai Edited by Takeshi Seyama Kashiko Kimura Production company Madhouse Distributed by Sony Pictures Entertainment Japan Release date August 30, 2003 ( Big Apple Anime Fest) November 8, 2003 (Japan) Running time 92 minutes Country Japan Language Japanese Budget $2. 4 million [1] Box office $609, 525 [2] Tokyo Godfathers ( 東京ゴッドファーザーズ, Tōkyō Goddofāzāzu) is a 2003 Japanese anime film directed by Satoshi Kon loosely based on Peter B. Kyne 's novel Three Godfathers. [3] Tokyo Godfathers was the third animated film directed by Kon and the second which he both wrote and directed. Keiko Nobumoto, noted for being the creator of the Wolf's Rain series and a head scriptwriter for Cowboy Bebop, co-wrote the script with Kon. Tokyo Godfathers received an Excellence Prize at the 2003 Japan Media Arts Festival. [4] It also won Best Animation Film at the 58th Mainichi Film Awards. [ citation needed] Plot [ edit] One Christmas Eve, three homeless people – a middle-aged alcoholic named Gin, a former drag queen named Hana, and a dependent runaway girl named Miyuki – discover an abandoned newborn while searching through the garbage. Deposited with the unnamed baby is a note asking the finder to take good care of her and a bag containing clues to the parents' identity. The trio sets out to find the baby's parents. The baby is named Kiyoko ( 清子), based on the Japanese translation of Silent Night literally meaning "pure child", as she is found on Christmas Eve. Outside a cemetery, the group encounters a high-ranking yakuza trapped under his car. The man happens to know the owner of the club where Kiyoko's mother used to work; his daughter is to marry the club owner that day. At the wedding, the groom tells them that the baby's mother is a former bar girl named Sachiko. He gives them Sachiko's address, but the party is interrupted when a maid, revealed to be a Latin American hitman in disguise, attempts to shoot the bride's father. The hitman kidnaps Miyuki and the baby and takes them back to his home. There, Miyuki befriends the hitman's wife and shows her some pictures of her family. Hana searches for Miyuki and Kiyoko while Gin takes care of an old homeless man who is dying in the street. After giving Gin a little red bag, the old man peacefully passes away. Some teenagers show up and beat up Gin and the dead old man. Meanwhile, Hana finds the girls and they go off to find a place to stay. They go to Hana's former club. Gin, who was rescued by another member of the club, is also there. The trio sets out to find Sachiko's house, but they discover that it has been torn down. They are informed of the unhappy relationship between Sachiko and her husband, who is a gambling alcoholic. The group rests at a store until they are told to leave by the clerk. Hana collapses, and is taken by Gin and Miyuki to the hospital. Once at the hospital, Gin finds his daughter, who is also named Kiyoko, working as a nurse. Hana berates Gin in front of his daughter and storms out of the hospital, with Miyuki following behind with baby Kiyoko in hand. Hana and Miyuki find Sachiko about to jump off a bridge. Sachiko insists that her husband got rid of the baby without her knowledge, and that they return the baby to her. Meanwhile, Gin finds Sachiko's husband, who confirms a TV report Gin saw earlier that Kiyoko was actually stolen by Sachiko from the hospital. They chase after Sachiko and the baby. After an intense car chase, Miyuki chases Sachiko to the top of a building. Sachiko reveals she became pregnant in hopes it would bring her closer to her husband. When her baby was stillborn, she decided to kidnap Kiyoko from the hospital, thinking, in her grief, the baby was hers. As Sachiko is about to jump off the building, her husband comes out of his apartment, located just across the street, and begs her to start over with him. Sachiko jumps off nevertheless, but Miyuki manages to catch her before she falls, but then Sachiko accidentally drops Kiyoko. Hana jumps off the building after Kiyoko, catches the baby, and lands safely due to a miraculous gust of wind. Hana, Miyuki, and Gin are taken to the hospital. Miyuki hands Gin his cigarettes and drops the old man's small red bag on the floor, revealing a winning lottery ticket. Kiyoko's real parents want to ask the trio to become her godparents. When a police inspector introduces them to the trio, the inspector is revealed to be Miyuki's father. Cast [ edit] Tōru Emori (Japanese) and Jon Avner (English) [5] [a] as Gin ( ギン); a gambling addict and former bicycle shop owner who claims to have been a bicycle racer. He ran away from his family when his debts became too great. His daughter, a nurse, shares the name of the newfound baby Kiyoko. Yoshiaki Umegaki (Japanese) and Shakina Nayfack (English) [5] [a] as Hana ( ハナ); a former drag queen who became homeless following the death of a former boyfriend. Hana was also an abandoned child, and is the most sympathetic to Kiyoko's plight and is the one who gives the baby her name. Aya Okamoto (Japanese) and Victoria Grace (English) [5] [a] as Miyuki ( ミユキ); a runaway high school student who fled home following a violent argument with her father. Shōzō Iizuka (Japanese) and Jamieson Price (English) [5] as Ōta ( 太田); a yakuza boss who the main characters save from being crushed by his car. In gratitude, he invites them to his daughter's wedding reception. Seizō Katō (Japanese) and Kate Bornstein (English) [5] as Mother ( 母さん, Kaa-san); the proprietor of the gay bar Hana was formerly employed in. Hiroya Ishimaru (Japanese) and Kirk Thornton (English) [5] as Yasuo ( 泰男); Sachiko's husband and the one who left Kiyoko at the garbage dump. Ryūji Saikachi (Japanese) and David Manis (English) [5] as an old homeless man who is discovered by Gin. He entrusts Gin with the disposal of a small red bag before passing away. Yūsaku Yara (Japanese) and Crispin Freeman (English) [5] as Miyuki's father; a policeman in charge of searching for the missing baby Kiyoko, who was separated from her family. Kyōko Terase as Sachiko ( 幸子); a woman who claims to be Kiyoko's mother. Mamiko Noto as Gin's daughter; a nurse who is also named Kiyoko. Satomi Kōrogi as the daughter of the yakuza boss Ōta, who is also named Kiyoko. Akio Ōtsuka as a doctor engaged to Gin's daughter Kiyoko. Rikiya Koyama as Arao ( 新郎); Ōta's son-in-law who was collecting debt from Gin. Inuko Inuyama as Kurumizawa ( 胡桃沢); a resident of Sachiko's former neighborhood. Kanako Yahara as Yamanōchi ( 山之内) Rie Shibata as Nekobaba ( 猫ババ) Kōichi Yamadera as Taxi driver Additional voices (Japanese): Nobuyuki Furuta, Masao Harada, Bin Horikawa, Kazuaki Itō, Eriko Kawasaki, Akiko Kawase, Yuto Kazama, Tsuguo Mogami, Mitsuru Ogata, Chiyako Shibahara, Toshitaka Shimizu, Yoshinori Sonobe, Akiko Takeguchi, Hidenari Umezu, Atsuko Yuya Themes [ edit] The film puts an emphasis on the theme of "coincidences". Movie critic George Peluranee notes that "Tokyo Godfathers is a film that shows the small yet significant ties that each of us have with supposed strangers, and tells well the story of miracles, family, love, and forgiveness. " [ citation needed] Susan Napier points out that Tokyo Godfathers is part of a trend in anime and manga as depicting families in an increasingly dark fashion, showcasing the problems with traditional families, and attempts by people to construct a "pseudo-family" out of an increasingly fragmented and isolating modern Japanese society. [7] It is put forth that despite the seeming criticisms of traditional families throughout the film, it ends with a more conservative feeling as everyone returns to their traditional/original families. Despite its seemingly traditional ending, the film offers a more radical version of family. Throughout the story these three homeless vagabonds unknowingly form a "pseudo-family" to protect themselves from the outside world and to overcome their personal demons. [7] Release [ edit] This movie was released in North America by Sony Pictures on December 29, 2003 in an unsuccessful attempt to get an Academy Award nomination for Best Animated Feature. [8] The movie was released on sub-only DVD on April 13, 2004, [9] and they've planned to use DTS for the DVD, but was ultimately scrapped. [10] Announced on December 19, 2019, international animation licensor, GKIDS, will release the movie on March 9, 2020 with a brand new 4K restoration and a new English dub. [11] Reception [ edit] The review aggregation website Rotten Tomatoes reported that 90% of critics have given the film a positive review based on 68 reviews, with an average rating of 7. 07/10. The critics consensus states, "Beautiful and substantive, Tokyo Godfathers adds a moving – and somewhat unconventional – entry to the animated Christmas canon. " [12] On Metacritic, the film has a weighted average score of 73 out of 100 based on 25 critics, indicating "generally favorable reviews". [13] Notes [ edit] ^ a b c In the Animax Asia release of the film, Gin is voiced by Darren Pleavin, Hana by Russel Wait, and Miyuki by Candice Moore. [6] See also [ edit] Homelessness in Japan Japanese films of 2003 References [ edit] ^ "Interview Satoshi Kon" (in French). Catsuka. October 18, 2006. Retrieved December 20, 2015. ^ "Tokyo Godfathers (2004) - Financial Information". The Numbers. Retrieved December 6, 2014. ^ Hunt, Leon (2010). Tauris World Cinema: East Asian Cinemas: Exploring Transnational Connections on Film. I. B Tauris. p. 122. ISBN   9781845116149. ^ "Excellence Award - TOKYO GOD FATHERS | Award | Animation Division | 2003 [7th] | Japan Media Arts Festival Archive". ^ a b c d e f g h Sherman, Jennifer (February 13, 2020). "GKIDS Announces New English Dub Cast for Satoshi Kon's Tokyo Godfathers Film". Anime News Network. Retrieved February 13, 2020. ^ "Tokyo Godfathers". Behind The Voice Actors. Retrieved 2019-09-21. ^ a b Napier, Susan (2008). "From Spiritual Fathers to Godfathers". In Akiko Hashimoto; John W. Traphagan (eds. ). Imagined Families, Lived Families. New York: SUNY Press. pp. 33–49. ISBN   978-0-7914-7578-2. ^ Macdonald, Christopher (October 30, 2003). "Tokyo Godfathers theatrical release". Retrieved December 19, 2019. ^ "Tokyo Godfathers on DVD April 13th". February 23, 2004. Retrieved December 19, 2019. ^ Macdonald, Christopher (February 3, 2004). "Tokyo Godfathers DVD Release". Retrieved December 19, 2019. ^ @GKIDSfilms (December 19, 2019). "GKIDS is proud to announce the acquisition of the North American theatrical & home video rights to TOKYO GODFATHERS from Satoshi Kon" (Tweet) – via Twitter. ^ "Tokyo Godfathers (2003)". Rotten Tomatoes. Fandango. Retrieved December 20, 2019. ^ "Tokyo Godfathers Reviews". Metacritic. CBS Interactive. Retrieved December 20, 2019. External links [ edit] Tokyo Godfathers (film) at Anime News Network 's encyclopedia Tokyo Godfathers on IMDb Tokyo Godfathers at Box Office Mojo Tokyo Godfathers at AllMovie "東京ゴッドファーザーズ ( Tōkyō Goddofāzāzu)" (in Japanese). Japanese Movie Database. Retrieved 2007-07-21.

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