诡替身

*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.

江户时代，武士之子名张信藏（大川橋蔵 饰）剑法高超，可由于身为次子，所以他终日无所事事，游手好闲，周旋在两个美丽的女孩势以（久保菜穂子 饰）和ちの（桜町弘子 饰）之间。偶然的一天，他目睹一场凶杀的场景，继而卷入难以抽身的阴谋角力中。原来ちの来自一个神秘的小村庄安罗井，该村长久以来与世隔绝，隐藏着惊天的秘密。为此与幕府对立的纪州派出人马前去探听虚实，幕府方面也闻风而动，更将信藏招致麾下，追查安罗井的真相。两方势力此消彼长，阴谋后面有着更大的阴谋，一切变得扑朔迷离，危机四伏……本片根据著名小说家司马辽太郎的同名原著改编。

在清澈的小河边，鸭爸爸正焦急地走来走去，原来他的妻子正在孵化小鸭。经过痛苦漫长的等待，毛茸茸的小鸭子相继破壳而出。看着健康可爱的孩子，鸭爸爸欣喜过望，狂亲自己的老婆。正在这时，最后一枚蛋也蠢蠢欲动，结果出来的竟是一只傻乎乎的白色小鸭子。这可气坏了鸭爸爸，他怀疑老婆不忠，于是两口子发生争吵，最终鸭爸爸绝情离去。鸭妈妈不甘示弱，决心独自抚养这群孩子。她带着宝贝儿们游泳嬉闹，却独独不喜欢那个令她失去爱人的白色小鸭子。小白鸭受尽其他小动物的奚落，自认为丑陋的他悲伤不已……本片荣获1940年奥斯卡电影节最佳动画短片奖。

故事发生在位于湘西的穷苦农村中，在这里，男人们留在家中劳作耕地，而女人们则要离开家，前往城镇“做生意”，而她们所做的生意，其实就是出卖自己的身体。阿七是这些女人们中的一员，日子虽然过得十分凄惨却也习以为常。一天，阿七的丈夫在家忙完了农活，觉得百般无聊，于是决定去找阿七。看到自己的老婆辗转在不同的男人身下，阿七的丈夫心里十分不是滋味，但与此同时他亦明白，如果阿七不出来工作，家里就没有饭吃。富裕的油商张老板看上了阿七的美貌，想要将她买走做姨太太，这让阿七的丈夫感到无法接受，心中痛苦无处发泄的他流连于赌桌之前。