夏家三千金41

上古世界，人妖共存，三界之中开有一间医馆，只医妖不救人。传闻医馆两人一兽，掌柜医师红 娘风情万种，助手叁池娘炮一枚，杂役多肉（蛤蟆精）人面妖身。 原本风平浪静的妖医馆，却因为一位不速之客书生金志坚的到来，陷入危机。书生怀孕，本是奇闻，奈何妖种竟是稀世魔丸。红娘本欲为其接生，取魔丸心头血方能破解自身命格缺陷，不想经过几日对魔丸的悉心照料，一人一兽产生情谊。红娘决意放走魔丸，却遭遇悬甲门围堵。原来一切都是掌门雄魁的计谋，他要用魔丸心头血培养嗜血菱花，以吸食妖族血脉为自身延寿，至此，红娘陷入绝境……

哆啦A梦（大山信代 配音）在去未来世界时得到一些小行星奖券，因大雄（小原乃梨子 配音）报错奖券号码，他们无意中来到了一个天堂般的星球。大家开心地把各自的玩具都拿到那个星球上，并用生命之匙赋予了它们生命。玩具们就在那个星球上建造了自己的城市——发条都市。皮卜（佐佐木望 配音）受雷击影响而具有高智能的布偶猪，被选为发条都市的市长。此时，凶恶的罪犯熊虎鬼五郎（内海贤二 配音）逃入大雄的房间，无意间通过任意门也来到了发条都市，并用玩具们的复制装置复制了自己，企图占领发条都市。一场正义与邪恶的较量由此展开了……藤子·F·不二雄执笔到第22页就逝世了，因此这部作品可算藤子·F·不二雄的遗著。

*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.

画面伊始，一只手将唱针放在了画着狗狗和功夫兔的唱片上，伴随着《两只老虎》的经典旋律响起，一场新的战斗即将开始。这一次，画家在书桌上设下了胡萝卜的陷阱。只要功夫兔嘴馋走向胡萝卜，他就一定会被扣在碗的下边。画家志在必得，拿着望远镜从远处盯着陷阱，等待激动人心的一刻。谁知倒霉的菜包狗落入了陷阱，而画家则被突然出现的功夫兔整治了一番。画家恼羞成怒，命令狗狗袭击功夫兔，但是屡战屡败的菜包狗毫无悬念再次失败了。夹着尾巴回来的败犬遭到画家无情羞辱，为了一雪前耻，菜包狗投入了地狱般的特训之中……