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在一个阳光明媚的日子里，聪明的猴大哥正躺在树下呼呼睡大觉。正在此时，聒噪的小鹦鹉慌里慌张地飞了过来，她叫醒猴大哥，向他通报一个意想不到的情况。原来，小鹦鹉在河岸边发现一个红红的长长的还有一条小尾巴的奇怪东西，感到莫名其妙的猴大哥连忙赶了过去。他拿起神秘物体检查了一番，最后得意洋洋得出结论，认定这就是人类在节日里经常放的炮仗。他的发现很快传遍森林的各个角落，小动物们全部闻讯赶了过来。猴大哥向小伙伴们讲述了炮仗的原理和威力，为了验证他的推论，他打算选出一只小动物点燃炮仗，可是结果却出乎意料……

1850德州牧场扎克立家族來了一位流浪汉称扎克立家女儿是印第安凯欧族孤儿，引起凯欧族来此要人，整個问题是因为上一代白人与印第安相互寻仇，白人抱走印第安婴儿回家抚养，而该流浪客的儿子亦被印第安人掳走，向扎克立家族要求以女婴交换其儿子被拒而遭杀害，使其四处追踪迫害，最后水落石出，引起白人和印第安人的交战

*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.

德克萨斯的一个镇上，警长John T Chance（约翰·韦恩 John Wayne饰）和副警长酒鬼Dude（迪恩·马丁 Dean Martin饰）将作恶多端的Joe Burdette绳之以法，并将其关在监狱里，和另一个警员瘸腿的Stumpy （沃尔特·布伦南 Walter Brennan 饰）一起看守，等待几天后审讯官的到来。此时，Chance的老友Pat Wheeler正好路经此地，并介绍Chance认识了一个叫Colorado Ryan（瑞奇·尼尔森 Ricky Nelson 饰）的男孩。而Chance也在一个酒店里认识了一个叫Feather（安吉·迪金森 Angie Dickinson 饰）的女人。Joe的哥哥Nathan带着人要来劫狱，先是派人杀死了Pat，又多次想要以Dude来威胁Chance放人。Chance等人与其斗智斗勇，在这个过程中，Chance发现了Colorado的勇敢并将其招入警队；而酒鬼Dude又要如何与自己的酗酒对抗，以争回自己的尊严，Chance能否带着一个酒鬼、一个瘸子和一个男孩来战胜Nathan的一次次进逼？