If the rating is correct, I want to give it three and a half stars, but the difference between three and a half stars and four stars is not big, so there is no entanglement.
It may be because I heard Beicheng say that this movie is good, and I have seen Jin Min's other works, so my expectations for "Tokyo Godfather" are too high, so I have been anxiously waiting for any deep irony or philosophical hints to appear. But at the end, it seems that the meaning is buried shallowly in the movie, like a burial flower, deliberately wanting people to see it roughly the same.
Overall, I see [love, family, kids, religion]. Well maybe there are others, but these are the important parts, so let's call them "theme.
People who have lost their families, with babies who have run away from their families, are looking for families. Babies have the light of Christ, and common people are as kind as snowflakes. Life comes and goes as naturally as the wind blows, but there are times when there are reasons to urge for a particular life.
Most of the plot is well understood. A subject that is objectively a bit "clichéd and popular" should only be written in a less rigid and embarrassing way in the writings of some masters such as Jin Min. Of course, there is only this film at present, which makes me look at the coincidences with relish. nature. There is no resistance, and even the next coincidence is expected or predicted. If you have to pretend to be mysterious, then it can be said that "The Godfather of Tokyo" evokes people's most sincere love and original sensitivity to "story" in an exaggerated and even witty way, just like a surrounding The children listening to the story by the fire, with their faces flushed brightly by the fire, guessed the next possible plot, and were triumphant that their predictions had been confirmed.
Of course, it may just be that I am more tolerant of Jin Min's films, who knows?
Em Hana is a lovely person. She is a "woman" who is barren but she is a godmother because love itself has no gender. Motherhood is not necessarily exclusive to the biologically "female" either. (and seiyuu listen well wwwqwq)
The part I was most involved in was the assassination of the black boy with the gun and the ambulance rushing into the convenience store.
It's also in line with the storyteller's mentality - all kinds of surprises happen when you yourself are confident that you have the plot in your hands. The sudden insertion and protection-like deliverance seem to suggest the Son's luck. Then all children should be the Son of God, for every family.
Tokyo is an indifferent and crowded city full of surprises, perfidy, deceit, slander, irresponsibility and gossip. It may be that Hana was walking on the street, and a passing couple was swept away by a flying vehicle. Neighbors get together more and more, and discussing another neighbor's house is of course as fulfilling as filling an entire abandoned house. A liar, a lazy person, a dumb person. Life is born and life ends, as natural as the snow and the sun, but there is always someone who pays special attention to a certain life, as if he is all love.
Hana is the cutest. A person who doesn't lie, doesn't ask for anything, and is kind and divine. So where did the green ghost go?
When Hana rescued the child and fell on the wind of the banner, it seemed as if the Virgin had brought the child back to the world. Beicheng said that if Hana was not a tramp, she would be a poet. I don't know what poems she will think of at that moment.
Give the child a name, Qingzi. Clear look, much like baptism.
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