你看起来很好吃综艺

二战前，驻英大使吉田茂（笑福亭鹤瓶饰）与白洲次郎（生田斗真饰）敏锐地察觉到了世界局势的危机，反对与德国结盟，然而他们的反对只是徒劳，日本也被牵连进了第二次世界大战。战败后，以美军为首的驻日盟军占领了日本。吉田茂出任外务大臣，与驻日盟军司令部GHQ几经交锋，后任日本总理大臣，担负起振兴日本、夺回国家主权的重任。本剧以吉田茂女儿和子（新木优子饰）的视角讲述了在那个动乱的年代，吉田茂及其率领的“吉田学校”的众人，如何为日本的独立与复兴齐心协力、鞠躬尽瘁的故事。

还蒋氏父子本来面目，郑重推荐——东森新闻耗时三年，远赴美国寻找史料并巨资到国内外购买大量资料，访谈相关人士，以进而了解两蒋的为人及性格，广泛的搜集许多未曝光过的珍贵画面，制作出首次高水平的纪录片，深入忠实呈现两位已故领导人近80年的艰辛过程。本片内容以纪录片、访谈片交互穿插的方式呈现，因画面取得弥足珍贵，是不可多得的现代历史教材。

昭和46年12月。本土復帰を翌年に控えた沖縄では、本土系暴力団の沖縄進出に対抗すべく、大城(大城朝光理事長)派と、対立関係にある国頭(国頭正剛理事長)派が互いに手を結び、「沖縄連合琉盛会」を結成した。だが、外部に向っては、「琉盛会」は一致団結したものの、その内部、国頭派系内部で紛争が持ち上がった。ことの起こりは、三年前。沖縄やくざの組織統一を計るため、対立する一派を襲撃した時、国頭とは兄弟分の中里英雄理事一派が行動隊をつとめ、中里は逮捕された。その中里派に対して、中里の服役中も出所後も、国頭派の面倒見は悪かった。このため中里は配下三〇名を率いて、国頭派を脱会したのだが、国頭派、特に理事の石川隆信は、この脱会に中里派数名に対して私刑を加えたのである。ここから、両派の血みどろな抗争が始まった。私刑事件に逆上した中里は、国頭および石川の殺害を決意する。その直後、国頭は中里に和解を申し出たが、時すでに遅かった。キャバレー、ユニバースで国頭が中里の若衆・嘉手刈宏と儀間二郎に、至近距離からS&W38口径回転式拳銃で、頭部に二発の銃弾を撃ち込まれたのである。国頭派の実力者、石川は報復のため、二十数名からなる特別行動隊を編成して、即座に中里派数名を射殺した。この報復に怒り狂った中里は、石川の命をとるべく具志川、嘉手刈を引き連れて石川の自宅を襲撃、カービン銃で石川を射殺する。この事件で国頭派は壊滅し、「琉盛会」は大城派の大城朝光がただ一人の理事長となった。だが、その大城は着々と本土系暴力団と手を結ぶ手はずを整えていたのである。自分一人が踊らされていたことを知った中里は、数名の若衆と共に警察の捜査網をかいくぐり、そのほこ先を大城に向けた。数人のボディガードの見守るなかで、大城は日課の朝の散歩中、儀間二郎によって射殺される。そして大城理事長亡きいま、大城派の影の実力者、翁長信康理事は、那覇市の高級ホテルで関西広域暴力団旭会の海津組組長と会合をしていた。中里英雄は、自らの最後の敵である翁長と海津の命を狙うべく海上で釣を楽しむ両名を襲ったのである。中里一派数名と翁長一派・海津組の連合隊の間に、沖縄はじまって以来の一大銃撃戦がここに展開するのだった。

*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.