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.This action sequence, which shows Gin on a stolen bike 10 EA Cinema_153-171 25/1/08 09:16 Page 167From Three Godfathers to Tokyo Godfathers 167pursuing a truck containing the woman and the child, is slightly remi-niscent of an early scene in Three Godfathers, when the Marshal s possepursues the three robbers on horseback into the sun-baked desert.Thenighttime chase in Tokyo Godfathers, though, culminates with the truckcrashing through the window of a commercial building in the ward ofShinagawa, a moment that recalls an earlier scene in the film (when anout-of-control ambulance nearly killed Hana, Gin and Miyuki as itdrove into a convenience store).Still carrying the baby, Sachiko climbsseveral flights of stairs to the top of the building, with all three of ourheroes in hot pursuit. The baby is mine , she exclaims to Miyuki, thefirst to make it to the top.However, it is revealed during these penulti-mate moments that Sachiko s own baby died during childbirth, result-ing in the emotionally distraught woman s theft of Kiyoko. I want tobe reborn , she cries, stepping toward the ledge out of desperation.Shestops short of falling, though, when she catches sight of her husband,who has just won 100,000 yen in the lottery.A mixture of coincidence and contrivance, this revelation anticipatesGin s own impending discovery that he too is a lottery winner.Seren-dipity spreads throughout the film, and the meteorological miracle (asone critic has described it) that intervenes when the baby falls fromSachiko s arms is just one of the many moments of magical realismwhich differentiate Tokyo Godfathers from its cinematic antecedents.After Hana saves the falling baby thanks to a blast of wind, a brief codashows Kiyoko being returned to her rightful parents, a middle-classcouple who have gathered at the hospital.Miyuki too reunites with herparents, who have seen the recent events play out on a televised newsreport.This cathartic, if implausible, ending of the film, which sug-gests that a benevolent deity has been watching over the characters,recalls the denouement that brings Three Godfathers to a close: Bob, theonly one to make it out of the desert alive with the baby, stumbles intothe town of Welcome, Arizona, and is given a light sentence by theMarshal and his wife, who agree to look after the infant. A child never forgets its parents.These words, spoken by Hanamuch earlier in the film, suggest that the film-makers who remakeearlier texts are not likely to forget those things that drew them to thesubject in the first place.Presumably, Kon Satoshi pursued this thirdfeature-length film project not out of a desire to base his work onpre-tested material.It is more likely that he was drawn to the idea of asurrogate family brought together in times of desperation, a trio ofindividuals unlike any other characters ever seen in Japanese animation.Hana s allegorical words thus take on new meaning in light of the film sfinal scene, which shows Kiyoko purring in the arms of her true 10 EA Cinema_153-171 25/1/08 09:16 Page 168168 East Asian Cinemasbiological parents.Hana had always dreamed of being a mother to alittle girl , remarking at one point: If the Virgin Mary was able toget pregnant, why not a transvestite? Yet the ex-cabaret performer iswilling to concede that maternal role to the girl s real mother, amiddle-class woman who appears with her husband in the final scene.The handover of the child to a more conventional family unit sitsuncomfortably with the film s sympathetic yet frequently caricatureddepiction of transvestite performances and queer identities.Indeed, thesomewhat clichéd representation of Hana s histrionic outbursts ofprofanity and tears risks turning her more nurturing maternal instincts,not to mention her proclivity to compose haiku, into just another modeof performance [ Pobierz caÅ‚ość w formacie PDF ]
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.This action sequence, which shows Gin on a stolen bike 10 EA Cinema_153-171 25/1/08 09:16 Page 167From Three Godfathers to Tokyo Godfathers 167pursuing a truck containing the woman and the child, is slightly remi-niscent of an early scene in Three Godfathers, when the Marshal s possepursues the three robbers on horseback into the sun-baked desert.Thenighttime chase in Tokyo Godfathers, though, culminates with the truckcrashing through the window of a commercial building in the ward ofShinagawa, a moment that recalls an earlier scene in the film (when anout-of-control ambulance nearly killed Hana, Gin and Miyuki as itdrove into a convenience store).Still carrying the baby, Sachiko climbsseveral flights of stairs to the top of the building, with all three of ourheroes in hot pursuit. The baby is mine , she exclaims to Miyuki, thefirst to make it to the top.However, it is revealed during these penulti-mate moments that Sachiko s own baby died during childbirth, result-ing in the emotionally distraught woman s theft of Kiyoko. I want tobe reborn , she cries, stepping toward the ledge out of desperation.Shestops short of falling, though, when she catches sight of her husband,who has just won 100,000 yen in the lottery.A mixture of coincidence and contrivance, this revelation anticipatesGin s own impending discovery that he too is a lottery winner.Seren-dipity spreads throughout the film, and the meteorological miracle (asone critic has described it) that intervenes when the baby falls fromSachiko s arms is just one of the many moments of magical realismwhich differentiate Tokyo Godfathers from its cinematic antecedents.After Hana saves the falling baby thanks to a blast of wind, a brief codashows Kiyoko being returned to her rightful parents, a middle-classcouple who have gathered at the hospital.Miyuki too reunites with herparents, who have seen the recent events play out on a televised newsreport.This cathartic, if implausible, ending of the film, which sug-gests that a benevolent deity has been watching over the characters,recalls the denouement that brings Three Godfathers to a close: Bob, theonly one to make it out of the desert alive with the baby, stumbles intothe town of Welcome, Arizona, and is given a light sentence by theMarshal and his wife, who agree to look after the infant. A child never forgets its parents.These words, spoken by Hanamuch earlier in the film, suggest that the film-makers who remakeearlier texts are not likely to forget those things that drew them to thesubject in the first place.Presumably, Kon Satoshi pursued this thirdfeature-length film project not out of a desire to base his work onpre-tested material.It is more likely that he was drawn to the idea of asurrogate family brought together in times of desperation, a trio ofindividuals unlike any other characters ever seen in Japanese animation.Hana s allegorical words thus take on new meaning in light of the film sfinal scene, which shows Kiyoko purring in the arms of her true 10 EA Cinema_153-171 25/1/08 09:16 Page 168168 East Asian Cinemasbiological parents.Hana had always dreamed of being a mother to alittle girl , remarking at one point: If the Virgin Mary was able toget pregnant, why not a transvestite? Yet the ex-cabaret performer iswilling to concede that maternal role to the girl s real mother, amiddle-class woman who appears with her husband in the final scene.The handover of the child to a more conventional family unit sitsuncomfortably with the film s sympathetic yet frequently caricatureddepiction of transvestite performances and queer identities.Indeed, thesomewhat clichéd representation of Hana s histrionic outbursts ofprofanity and tears risks turning her more nurturing maternal instincts,not to mention her proclivity to compose haiku, into just another modeof performance [ Pobierz caÅ‚ość w formacie PDF ]