谁是大歌神

*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.

在一个风和日丽的日子里，大狗史派克和他最宝贝的儿子泰克趴在狗屋前睡觉。泰克被噩梦所惊扰，发出阵阵哀鸣。史派克抱起儿子，慈爱地安慰这只受惊吓的小家伙，并喂了他一口牛奶，父子再次进入梦乡。与此同时，汤姆和杰瑞这对冤家又展开了永无休止的战争，他们从屋内打到院子里，躲避追杀的杰瑞走投无路藏进泰克的狗屋。汤姆不管不顾，追到跟前一阵乱翻，甚至把泰克也提了起来。此举热闹了史派克，他狠狠吓唬了汤姆一顿。杰瑞暂时逃过一劫，而汤姆又勇猛地冲了过来，于是小老鼠又钻进了史派克的嘴里。可怜的史派克父子，注定不会睡一个好觉。

1932年，日本帝国主义侵略东北，扶植傀儡皇帝溥仪建立伪满洲国，并在全境推行奴化教育。坐落于伪满境内的青禾男高聚集了日本和中国的学生，国仇家恨，使得学校内日中双方不良少年时常发生殴斗。在此之前，青禾男高始终被日本学生柴田（林遣都 饰）率领的军团只手遮天，而中国学生们则整日忙于内斗，直到一个叫荆浩（欧豪 饰）的男人出现，终于呈现出跟日本学生分庭抗礼之势。而随着荆浩的军师谭嘉木登场，他则彻底弥合了双方的矛盾，为这所荷尔蒙飙升的男高带来久违的和平。直到某一天，女教师柳禾（景甜 饰）出现，再度打破了青禾男高的和平……

讲述在纽约的华盛顿高地，杂货店老板Usnavi在继承了祖母的财产后，将要关掉店铺回到家乡多米尼加共和国过退休生活，对此他百感交集，而拉美裔社区和那里居民的吸引力让他停下来思考。影片围绕Usnavi、一名大学生、一名出租车司机、一位美容院员工和一个渴望更好生活的老妇人展开，随着中产阶级化开始扎根，闷热夏天中，一场停电让个人危机达到前所未有的高度。