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*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.

樱花和阿博准备建新房了，可手头的钱不够。叔叔、婶婶就打主意把阿寅的房间租出去。于是寅屋门口就挂出了“有房出租”的招牌。这天寅屋中全家人正谈着租房这事儿，碰巧阿寅就回来了。阿寅一进门见自己的房间被租了出去，不禁勃然大怒，一言不发，掉头就往车站走去。樱花赶忙追出来，可阿寅已跑远了。怒气冲冲的阿寅来到一家房屋租介公司想找间便宜点的房子住。那家房租公司说有有，就开车把阿寅带到了“寅屋的出租房”来。重新又回到了自家寅屋，阿寅正哭笑不得，房租公司那家伙又向阿寅说：“先生，说好了的手续费6000円…”阿寅更是大怒、跟他吵了起来。结果是阿博给付了钱了事。当夜，阿寅跟叔叔、婶婶就他的房间被出租一事争论了老半天，并对樱花和阿博想建房一事说了好多刻薄话，最后还把樱花气哭了。这事后，阿寅又出门到北方旅行去了。在金沢碰上了阿登，他们在旅馆又认识了从东京来观光的歌子（吉永小百合饰）、阿绿、真理三人。歌子和阿寅一起聊天，还拍照留念，两人成了好朋友。之后阿寅又回到了柴又。没几天，歌子的朋友阿绿、真理到寅屋来探访阿寅。二人给阿寅谈了许多有关歌子的事情，让阿寅对歌子的情况有了更加深入的了解。歌子与她那位是小说家的父亲一起生活。她母亲在她小的时候就失踪了，所以如今父亲的生活就由她来照料。没想到第二天歌子一个人也来了寅屋，阿寅真是又惊又喜。全家人一同欢迎歌子的到来。歌子早有了意中人，并打算跟他结婚，可遭到父亲的反对。歌子考虑到自己结婚后父亲只得一人孤零零地生活，心里也很觉不安。她心里为此困扰不已，因此决定来找阿寅。她在寅屋住了一宿，第二天又到阿博与樱花的寓所去拜访，并把自己的心事与他们相商量。结果歌子就下定了结婚的决心。可怜阿寅对此什么也不知晓，兴高采烈地到樱花寓所去接歌子。在回来的路上，歌子向阿寅表白了自己要与别人结婚的决心。听到这，阿寅话也说不出来，眼泪忍不住扑簌簌地掉了下来……

为了摆脱贫穷的生活，清冈球江（冈田嘉子 饰）抛弃了丈夫渥美俊荣（奈良真养 饰）和尚在襁褓中的女儿滋子，只身远赴好莱坞影视圈发展。在此后的岁月里，渥美投资渔业公司，生意越做越大，与此同时还迎娶温柔贤惠的真砂子（筑波雪子 饰）为妻。真砂子视滋子（小岛寿子 饰）若己出，滋子也深爱这个美丽的母亲，一家人的生活何其幸福。某天，功成名就的球将返回阔别已久的日本，此行的目的只有一个，那便是找回失却的女儿。就在此时，渥美的公司陷入财政危机，球江希望借机注资以得到女儿，却遭到前夫的拒绝。不久，公司倒闭，渥美一家的生活充满困顿。而两位母亲针对女儿的争夺也渐渐激烈……

一名前小联盟篮球教练被法院命令去管理一支由智力障碍球员组成的球队。他很快意识到，只要齐心协力，这个团队能比他们想象的走得更远。