爱我就别想太多演员表

某一晚，野原一家同时梦见了古装剧里才会出现的”古代美女”，虽然全家人都觉得很不可思议，却也没有深入追究。当天下午小新从幼儿园回来时，看到小白正在庭院里拼命挖洞，而当小新也跟着开始挖掘后，竟然挖出了一个箱子，里面放有小新亲笔写的书函，除了写有天正2年的字眼外，还画有肥嘟嘟左卫门的图案。小新由于摸不着头绪而闭上眼睛思考，却在睁开眼时发现自己已经身处在一个战国时代，并阴错阳差救了武士，更因此得以见到了梦中的那位美女”阿廉公主…

盲人按摩师阿市外表平凡，却是一个技艺高超的剑客，虽然他有着这样那样的坏毛病，不过骨子里仍保有善良正直、嫉恶如仇的品行。这一日，周游全国的他来到了下总饭冈，在有过一面之缘的黑帮分子饭冈助五郎（柳永二郎 饰）处所留宿。适值此时，助五郎正与以笹川繁造（島田竜三 饰）为首的团伙对抗，双方剑拔弩张。繁造收留了一名落魄武士平手造酒（天知茂 饰），不过造酒却与同样耿直的阿市交起了朋友。不过分属两个阵营的他们，却不得不面临刀剑相向的残酷局面……本片根据子母沢寛随笔集《ふところ手帖》中的同名短篇故事改编，为“座头市系列”的第一部。

*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.

本美术片取材于敦煌佛教故事，画面颇具敦煌壁画风格。自小生活在大山深处的少年夹子心地善良，他不但十分孝敬父母，对森林中的小动物也当家人般疼爱。某天，国王带着狩猎队进山打猎，不忍看到平静的森林被破坏的夹子连忙帮助鸟儿、松鼠、鹿儿等动物逃命。然而，国王的骑队紧追着鹿群不放，为了保护鹿群，夹子披上—张鹿皮装扮成一头母鹿，朝着与鹿群相反的方向跑去。国王一箭射过去，正中夹子的心房。国王的骑队离去后，夹子昔日的伙伴全围绕在他身旁，一边伤心地落泪一边尝试将他复活。