Inspired by the western 3 Godfathers, Tokyo Godfathers never puts itself into one set pattern, or even genre. In its 92 minute running time, the animated film jives and dashes through drama, comedy, and even bicycle-laden action. The quasi-holiday tale begins when three cranky homeless people find an abandoned baby in the trashcan and decide to find its parents, setting our heroes on their noble quest.

But what unheroic heroes—a cynical ex-bicyclist, a loosey-goosey drag queen, and an erratic runaway, all possessing an assortment of scars, masks, and virtues. Before long their lies and histories begin to emerge, giving the viewer a truly memorable triad of protagonists.

Director Satoshi Kon (Millennium Actress) has teamed up with Keiko Nobumoto, whom the animé-savvy may know as the writer of Cowboy Bebop. The story differs greatly from Kon’s previous works that featured lovelorn actresses and paranoid pop stars. With Tokyo Godfathers he doles out the comedy but retains the same poignancy that has made his previous films memorable.

Kon also stands as a master of his art. He uses the freedom of animé to let loose and tell a wild yarn while retaining a strong emotional link with the audience. A more realistic style of art dominates the film, but gleams with the exaggerated facial expressions and defiance of physics, as well as the quirky, oddball humor associated with much of the genre.

The whimsical humor may irritate—my grandmother would find nothing amusing about the distracted protagonists brushing past a woman jumping off a bridge (though they do rush back to help). Nor will the often humorous reliance on coincidence be to everyone’s taste.

Dubbing can often run the gamut of dull to eye gouging. Luckily, Samuel Goldwyn Films took the cheaper route and didn’t bother. For those who bawled through Pan’s Labyrinth or gawked at Daywatch, the original voice actors give spot-on performances, especially throaty Aya Okamoto as Miyuki (a young animé female without an über-high Sailor Moon-esque voice!). I have a suspicion that there are nuances lost in translation but the dialogue still works.

Miyazaki takes us to worlds of fantasy and dreams. Kon remains closer to earth, with a steely Tokyo and physically unattractive characters. Yet amongst the pain and strife of each of the heroes is also a spark, driving each to survive and stick together, despite Yakuza weddings, Mexican hitmen, and trips to the hospital. This alternatively cold and humorous reality is what makes Tokyo Godfathers an amusing, poignant film that can put a humorous turn on any situation, while never becoming lost in its own gags.

***1/2 / ****