Film Analysis

Seeing Red: A Closer Look at Tokyo Godfathers

By Cameron Raymer

There are many things unique to the medium of animation.

Action scenes, for one, are much easier to exaggerate. There are no actors or stunt
doubles (or gravity) to worry about. Animation only needs to be made believable
within the world and story that its created. Characters can be over the top without
seeming out of place, and can still be taken seriously. Theres much more versatility
in animation than it often gets credit for. Nowhere is this more evident than in the
work of Satoshi Kon.

Satoshi Kon
Kon was well known for the deep and psychological themes in much of his work,
and the way he seemed to make the line between reality and dreams blur. His films

have a reality to them not seen in much other animation yet still retain a dreamlike

quality. In both Paprika and Perfect Blue this is especially true.

In Tokyo Godfathers, however, he took a more traditional, slightly less dreamlike

approach to highlight some very realistic problems in Japan.

Tokyo Godfathers
The
three main protagonists of Tokyo Godfathers are homeless, for various

reasons. Throughout the film, which takes place in snowy late December, the
audience sees them struggle to go about their days and also fit in with the rest of
the population.
Though Kon is less dreamlike in this film, his use of color acts instead as a subtle yet
powerful way to tell us more about the characters and their motivations.
These days, color is an integral part of film, and it has incredible power over how
we perceive the film and the characters. - Joe Marine, nofilmschool.com

Throughout the film, the cold temperatures and the isolation from society is
demonstrated in color- when things are looking grim for the protagonists the
dullness of winter seems more evident than ever.
And in contrast to that, when the characters are in a safer place, or surrounded by
loved ones, the colors seem to grow in vibrance. Red, in particular is a color which
can be seen quite often in these scenes.
From the warmth of shelter, to the color of Hanas lipstick, it seems to be the most
important color (to contrast blue, primarily) in the entire movie. The fact that Hana
wears red lipstick is particularly notable, as it indicates that she carries hope around
with her wherever she goes.

In Hanas flashback, she is surrounded by warmth in a place where she can (mostly) be herself.

Red representing hope and miracles is fitting in regards to the Christmas time
setting and to Hana, who believes in miracles quite strongly.

When Gin happens to meet his long lost daughter, the reunion is framed in pink.
In the scene following the reunion, after Hana had lashed out at Gin for his lies and
gambling, she reflects on their relationship surrounded by blue. As Miyuki asks her
where shell go, the sense that she doesnt have a place to go is clear. Blue
represents isolation.

This isolation is also evident in the character of Sachiko, who, as she is about to
attempt suicide, is framed once again in blue. The isolation that so many of the
characters struggle with is shown to have consequences.

Luckily, before that can happen another miracle shows up in red as Hana jumps
and grabs a bright red banner.
The sun that hits everyone is warm and it is shown in contrast to the city which
appears cold and blue. Through all of the hardships, there is still hope for the future
at the end of the day.

Kon managed to portray the very real hardships and pain of homelessness and
isolation from society while at the same time giving his characters hope.
The protagonists, though isolated and cold were able to find hope in various ways.
Kon was able to show that struggle using something we all understand on some
level: color.

Works cited:
http://nofilmschool.com/2015/08/history-importance-color-cinema-storytelling-film-lewis-bond