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*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.

独自拉扯着女儿杨春梅（师伟 饰）长大的寡妇立福嫂（舒绣文 饰）和村里的单身汉曾良臣（周森冠 饰）相爱了，这本是一件值得祝福的事情，可杨氏宗族的族长杨永成（浦克 饰）却觉得立福嫂伤风败俗。为了不让这件事外传，杨永成命令杨春梅嫁给曾良臣，迫于森严的族规，立福嫂不得不就范。实际上，杨春梅早已经和同村的青年朱小昌私定终身，一对年轻人决定挑战老祖宗定下的规矩，而立福嫂也在竹林里和曾良臣私会，商讨对策。这一幕被偶然路过的宋三嫂（傅惠珍 饰）撞见了，她马上就举报了杨春梅，导致后者被族长抓了起来。

故事发生在一座沿海的小村落里，杨万德（莫岐 饰）是当地唯一的学校红灵中学的校长。因为校舍年久失修，最终导致了坍塌事故，造成了数名学生的伤亡，愤怒的家长们将怒气全部都撒在了杨万德的身上，对他拳打脚踢，对此，杨万德不发一言，默默承受。坍塌事故的发生导致很多本来在学校里上课的孩子们都放弃了学业，其中包括因为成绩优异而得到了免试保送师范大学的蔡杰生，他辍了学，进入了父亲所经营的饭店上班。虽然蔡杰生自己放弃了学业，可是他却依然坚持让弟弟蔡友和（林国旗 饰）与妹妹蔡小妹（张茹瑜 饰）留在学校中。来学校上课的学生越来越少，用于投资教育的经费也捉襟见肘，无奈之下，杨万德只能把一部分校舍卖给了工厂做车间。

Mandom（郑中基 饰）、Condom（李灿森 饰）、Freedom（陈子聪 饰）都是扬名国际的超级名模。一天，Mandom收到威胁他不得参加“Model皇战衣争夺战”的恐吓，避免波及安危，Mandom报警后警方派出了女警张铁柱（林嘉欣 饰）的贴身保护。但铁柱一直看不起只注重外表Model。Mandom也不喜欢张铁柱的不修边幅，两人成了斗气冤家。新人王范特西（森美 饰）也在经理人柯尔温（钟镇涛 饰）与拍档罗曼蒂（李彩桦 饰）的帮助下，名气迅速增长。Mandom在巧合下与范特西碰头，铁柱也误打误撞成为了Mandom的拍档，经过训练后，铁柱才明白了模特儿的辛酸。铁柱脱胎换骨，更被Mandom的自信魅力吸引，两人互生爱意。“Model皇战衣”的比赛即将来临，Mandom有会否有生命危险呢？