博基亚家族

*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.

在与挪威的战役中，苏格兰国王邓肯（Nicholas Selby 饰）的表弟麦克白表现出色，被加封为爵士。早在授爵之前，麦克白（Jon Finch 饰）和朋友班柯（Martin Shaw 饰）就已从三个女巫那里听说他将加封并最终成为国王的预言。预言的实现勾起麦克白心底隐藏的欲望，随后他和夫人（Francesca Annis 饰）杀害了来他城堡做客的国王，并嫁祸国王的随从。两个王子隐隐感到暗杀背后的血腥阴谋，于是分别逃往英格兰和爱尔兰。成功践祚的麦克白不可一世，但他又分明记起女巫针对班柯的预言，即班柯虽然不能成为国王，不过他的子孙将世代为君。不甘为他人做嫁衣的麦克白指示亲信击杀好友，从此开始了一条充满血腥的不归路……本片根据莎士比亚四大悲剧之一《麦克白》改编。

翻拍自1966年李晚熙的爱情片名作《晚秋》，讲述了一名假释中的女犯人和一名年轻男子相遇的故事。女犯人原先以为受尽了欺骗而不肯相信男人，但得知男青年为了她而不惜抛弃生命之后幡然悔悟，但为时已晚，结局是个令人落泪的悲剧。但就像金绮泳导演的一贯风格，本片中也不乏刺激性的情色镜头。2010年，韩国男星玄彬与中国女性汤唯再度翻拍了《晚秋》。

明朝熹宗年间，宦官魏忠贤图谋不轨，陷害忠良。东林党人顾宪成等豪侠之士，欲以“羊皮密卷”上呈熹宗，事未成，诸忠良遭魏杀害，唯顾宪成小女小云携“羊皮密卷”水遁逃去，投奔钱员外以求暂且栖身。钱员外贪功图利，欲向东厂报告，被幼女玲玲、幼子小胖发现后，告之小云。幸有一神秘道士“不知道人”飞身将小云救走，并窃走落入钱员外手中的“羊皮密卷”，将小云安置在一破庙中。庙中一名叫石头的小乞丐将小云打扮成乞丐女，混入街市寻找其他忠良后代。小云和石头结识了顽童小豆子和鼻涕虫。在他们走投无路之际，又有野道士暗中以“飞叶传书”指引他们投奔少林寺。来到寺门前，又遇见另一忠良遗孤高天鹏。少林寺念及孩子们的处境，破例收他们为弟子，交青草大师引领。一天，小云随少林寺俗家弟子至善外出学剑法，途中被魏忠贤手下杀手认出，双方激战，神秘道士助至善击退杀手。得到消息后，魏忠贤下令围剿少林寺。青草大师、至善护送孩子们离寺躲避。方丈被捕当作人质。为救方丈，小云私自下山而陷入重围。正当小云不支之时，道士、笑痴僧及师妹青青、苗苗赶来助战。道士战死，小云亦身中毒箭落井而亡。f临终前，小云将“羊皮密卷”托交至善。笑痴僧掩护至善、青青、苗苗突围。青草大师这时也已被东厂高手杀害。少林寺武惠师叔率至善等来到干佛崖古穴绝地，利用历代少林寺祖师遗留穴中之玄机，将追来的魏忠贤的手下先后除去。魏忠贤身怀刀枪不入之童子功，将他们逼向绝境。至善和苗苗悟出穴中有遗字秘诀，将蜡封闭气中的心明大师由蜡封中引出。心明大师用尽丹田修练的真元之气，全力一击，将魏忠贤的童子功破除，自己因元气大损而亡，但保住了忠良之后、少林幼苗。