撞球小子

*Shinjuku Mad* was one ofKoji Wakamatsu's six films from 1970. Grim and gritty, stark and steady, burdened with anti-moralizing, generously padded with sex, and totally redeemed by a soundtrack that needs to be released NOW. I knew nothing about this film, loading it up on to my laptop, and every last one of this film's sixty-sixty minutes kept me riveted.Bear with me. The film opens with the band cycling through a jazzy rave-up, the black and images depict dead Japanese throughout a modern city. From the alleyways of the slums, to center of the park, you catch glimpses of bodies everywhere. This introduction is capped off by a lingering shot of a blood-soaked naked woman, face down. By this point, the band has reached a sort of peak. There's a cut, the band changes the direction of the song a bit, and then we're treated to a series of exterior shots from downtown, the lunch hour, maybe. You see a lot of storefronts and stairwells, people moving about. All of the people in these splices are done in negative image.What follows can only be described as harrowing. After the credits, the reel switches to color. We're treated to the on-screen stabbing of a young man in a toga, his attackers strip his special lady-friend of her toga, spend about two minutes smearing her breasts with still-warm blood, and then take turns raping her. She doesn't seem to put up much of a fight. The scene is lensed with all of the enthusiasm of a television spot for a whole foods market.Well, that's a fucked up way to start a movie. If you're still reading, I'll have you know the brutality eases up a little, but the camera's tendency to seek out each scene's more lurid details is relentless. The band never lets up, either. Another constant feature of the film is the protagonist's alienation from society. That's a pretty dated-concept, in a way. This film is cashing in on what could loosely be called the Existential demographic in 1970's Japan. Parts of it could have been written by Oe. Others by Mishima. It definitely, at times, addresses a bit of that lingering air of revolution, but more on that later.The father of the kid stabbed in Technicolor shows up in the nest reel, in the same apartment his son was murdered in. This confused, grieving father asks a totally baked Shoko Asahara for information about the events leading up to his son's death. The long-haired no-goodnik is toking on a Sharpie-sized doobie. He gets so fucking high he passes out and the dad is left there in the empty apartment, getting a major contact-buzz.So, the plot is basically that kind of exchange in larger and larger settings, intercut with glorious shots of the disillusioned father walking through industrial slums. The father, searching for the "Why" to his son's death goes on his quest and pisses just about everyone he comes into contact with off. He goes into subway stations and totally kills some beatniks' buzzes. Then he bullies a Hare Krishna ROCK AND ROLL SUPERSTAR and his belly-dancing percussionist at a park. Then he heads off to a bar, and we're treated to what must have been Tokyo's Greatest Garage Band getting low-down and sleazy here. This scene pretty much sums up what the film is about. As you dig the scuzz and the fuzz, the camera catches all manner of degeneracy and wanton reefer-use. And the bar has no less than three groups of people making out. And they get excessive with the groping.Eventually, the father catches the ringleader of the vicious band of murderer-rapists. "Shinjuku Mad," is his name. After an unbelievably long and convoluted exchange between the protagonist and Shinjuku Mad, it comes out that Mad and the boys are rebelling against all of Japan. It's open season on everyone but them. His son was only a casualty, nothing personal. Their intent is to go on rebelling against society through random acts of violence against people and property.After going through all the trouble of finding Shinjuku Mad, the old man's mind is blown by revolution for revolution's sake. After a few pummellings, he manages to turn the fight around. He winds up leaving with a nude girl that had been tied to a post for the entire scene.He goes back to the apartment his son was murdered in to find his special lady-friend naked with six other dope-smoking cats grooving on free love and blue balls.He decides he's happier with Shinjuku Mad alive and kicking, the band is at another one of its high points, and the camera pans out to the railroad yard, telephones wires, and the bare sides of modern buildings.That was Japan, thirty-seven years ago.

在大海贼时代拉开序幕的三年前，金狮子史基率领的海贼大舰队强悍无比，他妄图称霸世界。但在这之前，哥鲁德•罗杰仍是其最后的障碍。罗杰掌握足以毁灭世界的终极武器的秘密，他拒绝成为史基的下属，双方发生著名的艾德•沃海大战。原本处于劣势的罗杰被突如其来的大浪所救，双方战成平手。两年后，罗杰成为公认的海贼王，但不久便传来他被海军抓获的消息。史基愤愤不平，大开杀戒，却落败被投入海底监狱。不久，罗杰问斩，他所留下的秘宝遗言却由此开启了大海贼时代的序幕……本片根据尾田荣一郎特别创作的漫画改编，是《海贼王》第十部剧场版“强者世界”的前传。

平凡的银行警卫大叔申硕宪（柳承龙 饰），偶然间发现自己拥有一种可以控制身边物体的能力——念力。此时，十几年不见的女儿（沈恩京 饰）突然联系了他，原来乐观开朗的陋微已经成为了一个自力更生的炸鸡店小业主，但在一夜之间深陷危机。为此，硕宪决定打破原本寻常的生活，冲破重重阻碍帮助女儿，这种神秘的“念力”也随之变得愈发强大，也为他们的生活带来了不可改变的影响……

故事的主人公是一个外表平平的男子，他穿着黑色西装，带着黑框眼镜，虽然是职场人士模样，但周身散发着颓废疲劳的消极气息。他讨厌坐电梯，电梯门打开后对面墙的话让他心烦不已；他也讨厌和一群人共享电梯，零距离的感觉让他焦躁不安。唯一让男人感到些许开心的，是不久前刚刚乘坐电梯的女孩子留下的香气。特殊的香气让男人心驰神往，不觉多了一份渴望与期待。某天，男人终于见到那个香气的主人，女孩的美丽容颜和独特气质似乎满足了他此前的想象，他久久凝望女孩，猜测关于女孩的一切，并且鼓起勇气与女孩聊天。老旧的电梯内，复古气息和发霉的味道并存，这会是一个浪漫故事吗？