演员唐于鸿

幽州城，风和日丽，汉人、辽人和睦相处，一派生机。佘太君将率众女将返回京都汴梁，杨六郎仍将镇守边关，保家为国。　　时孟良、焦赞从街市回营，神秘地向六郎禀报“秘密”消息，六郎制止。八妹伤愈，不愿继续养伤又挥剑练功，把整个梨片劈得满屋纷飞。当佘太君正率着杨门女将回朝之际，八妹却韧性要留下游玩数日，太君无奈，只好令杨安、杨排风也留下保护八妹，原来他们都有一个心气，要寻找老令公的骨殖，完成太君多年的心愿。　　孟良、焦赞探听到老令公的骨殖藏放在洪羊洞内。于是杨八妹、杨排风、杨安、孟良、焦赞就前往洪羊洞欲取回老令公的骨殖。当他们进入洪羊洞内，果真看到装有老令公骨殖的木盒及老令公的金刀。当杨八妹拿起木盒，谁知竟是假的，同时洪羊洞内机关响动，八妹险丧生，杨安见此情况，及时相救。五人经过苦战，方得逃离洪羊洞。神秘人姜彬巧遇杨八妹，提示老令公的骨殖应该放在至高至大尊至荣的地方。杨八妹聪明至极与孟良、焦赞分析老令公的骨殖可能放在昊天塔内。当杨八妹、杨排风、杨安、孟良、焦赞经过树林时，遇到黑衣人的伏击，孟良在迷雾之中误伤了焦赞，孟良痛苦万分。他们只好回到幽州客栈为焦赞治伤。　　杨八妹、杨排风、杨安三人独闯昊天塔，欲取回老令公的骨殖。五娘、孟良、焦赞因怕八妹等人有险，决定上五台山请五郎相助。当五娘上五台山时五郎正在闭关，任由五娘怎么谩骂，五郎就是不见，并以五郎八挂棍阻止五娘闯关……杨八妹等三人进入昊天塔内果然看见老令公的骨殖及金刀，可此时却落入了辽军圈套，三人浴血奋战险象环生。危机时刻，五郎及焦赞、孟良及时赶到相救，夺得了老令公的骨殖，杨家多年的心愿终于实现。

超人警備隊的里美回到故鄉，無意中發現了一本描寫「大鐵人」秘密的書籍，多年前她爸爸為了出版這本書被外星人所殺，今天 里美再與寫這本書的叔叔重逢。原來書中所述的大鐵人就是當年叔叔精心研製的宇宙船，它擁有超越宇宙一切人神的無比威力。這個秘密被敵對的外星人知道了 ，於是便把製造大鐵人的上冊書搶走，照樣製造出一個人類難敵的 「大鐵人」，企圖毀滅地球……里美的叔叔為了拯救一切，決定走進大鐵人的身體裡，希望用自己的正義思想，與大鐵人二合為一，制止它繼續破壞……七星俠與大鐵人展開大激戰，叔叔是否會堅持留在大鐵人體內與它共存亡？

《初闻海潮声》：家住高崎的女孩来到靠近海边的城市上大学，她的家人经营加油站，因此女孩似乎是被命运也是乡愁指引，来到当地一处加油站寻找兼职。曾经厌恶的味道，而今却勾起了对家人的思念。《读你的梦想》：某间超市加入了一名新员工前田，虽然是高中生但却有两年工作经验的女孩长濑带他 熟悉工作。长濑得知了这个男孩的梦想，一段青春故事似乎就此开场。《为这遥远的路程》：人声鼎沸的棒球场内，观众们群情激昂。兜售小吃的女孩莲见穿梭其中，时不时瞟眼场上的局势，间或指导新来的员工。下班后，她和彼此站在不同阵营的男同事回家，平淡而温馨的夜晚。

*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.