我能推演世界走向

影片是根据真人真事改编的励志体育电影。来自凉山州彝族自治区阿沙莫村的瓦尔阿木从成都的修理厂辞职回到老家准备组建一只少儿篮球队，发小索吉前来帮忙。虽然条件艰苦，但众人一起努力让孩子们实现篮球梦想，凉山黑鹰的精神也传开了。孩子们靠着扎实的篮球技术打出了大山，而阿木则不忘初心重返大山帮助更多的孩子们。

出身于贫困的农村的张英（蒋天流 饰）邂逅了来自上海的知识分子李克（赵丹 饰），两人之间从单纯的革命友谊最终过度到爱情，于是决定携手步入婚姻的殿堂。上海解放后，夫妻两人被调回了上海，回到故乡的李克对眼前的一切都倍感亲切，而自幼生活在农村的张英却对大城市的一切都感到陌生和难以适应。一次偶然中，张英在舞厅门口看到舞厅的老板在欺辱一个小女孩小娟，张英挺身而出为小娟打抱不平，还将无家可归的小娟带回了家中，这让李克感到非常的不满。最终，夫妻两人之间的误会和争吵越来越多，他们决定分居。

著名状师陈梦吉（周星驰 饰）与徒弟何欢（葛民辉 饰）认识了女子水莲花（邱淑贞 饰），师徒两人都对水莲花有意思，刚好水莲花也欣赏陈梦吉的才华。这时陈梦吉的老婆吕忍（莫文蔚 饰）从国外读书归来，遇到了尴尬的场面。当何欢知道了师父的计谋后与陈梦吉反目成仇，独自到香港发展。陈梦吉找到了去香港的机会，却得知了何欢因为谋杀被囚禁，梦吉决定为徒弟打官司。法庭上的陈梦吉态度嚣张，被收监两天，他要求在外国学习法律的妻子帮忙，妻子才告诉他自己学习的是时装设计……

*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.