春风物语4完整版

1976年7月，盛夏时节。露天晚会曲终人散，人们纷纷回到各自家里，强忍暑热，慢慢入睡。突然，蓝光闪烁、大地轰鸣，一场数年不遇的特大地震发生了，整个城市被夷为平地。邢惠明（赵联 饰）从废墟里艰难的爬出，绝望地呼唤着亲人的名字。庄静娴（贺朔华 饰）如约赶赴约会的桥头，泪眼中已是桥断路陷，哪里还有未婚夫小孟（丁嘉元 饰）的影子。绝望过后，人们开始自救互救，共度难关。市委书记唐晖（张伐 饰）和幸存的党员干部积极投入抗震救灾工作，他委托邢惠明把抚养孤儿的重担挑起来。党中央派人民解放军赶赴震区救灾，郭强（宦荣 饰）、郭晓（杨阳 饰）被子弟兵救出，他们的父亲则在救助他人时不幸牺牲。不久，一座崭新的育红学校成立了......

一个年轻女孩被工作压弯了腰，不仅忘了自己的生日，想做饭的时候连锅都找不到，在焦虑中企图躺平假装问题不存在，最终被父爱和友谊拯救。

一幢冷清阴森的公寓，零星住着几户人家，家家各有一本难念的经。肥周（林雪 饰）悉心照料着因车祸失去双腿老婆阿凤（关宝慧 饰），夫妻二人情深意笃。阿凤体恤丈夫的身心的辛苦，更帮助他在外召妓。肥周偶然邂逅妓女（吴文忻 饰），生活因此发生变化；与肥周同在一家火锅店打工的阿虫（黎耀祥 饰）沉迷赌球，但逢赌必输，债台高筑，最终只得来公寓投奔好友。他在这里偶遇三位赌友，随即决定搬进这里大赌特赌，全然不顾身家性命；吸食大麻寻找灵感的阿宝（彭怀安 饰）和女友阿芝（唐宁 饰）住在一起。某天阿宝遇到一个迷路的小女孩，他的生活旋即发生变化，而阿芝也变得诡异非常……红尘中人，执迷不悟。

*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.