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清末新疆地区，侠客许天雄从金匪手中救下遭到金行老板巴占贵暗算的淘金王。身受重伤的淘金王告诉许天雄一定要找到他发现的秘密金洞，用金子从巴占贵手里赎出女儿金草。但奄奄一息的淘金王还未能说出金洞地点，便死去，许天雄拿着他留下的鹿皮荷包，开始努力寻找金草的下落。许天雄在金城遇到与淘金王生死共命的关山、王保子等人，拿出淘金王的遗物，向他们道出了淘金王惨死的真相，众金客悲愤交加。许天雄被金客子们推为新的“淘金王”，带领大家一起寻找金洞。而奸诈的巴占贵也觊觎着秘密金洞，监视他们的行动。命运悲惨的小露珠被金客王保子买来做“临时妻”，但在与淘金人的共同生活，渐渐寻到的幸福快乐，后她为救助大家牺牲了自己。阴险的巴占贵为独占金洞，诱使金草寻找金洞。正当巴占贵的心腹要杀她灭口时，许天雄出现了。淘金人终于寻找到了黄金，但幸福的生活却没能到来……

*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.

在和上司大吵一架之后，飒爽个性的凯拉（科洛·莫瑞兹 Chlo? Grace Moretz 饰）愤然辞职，转而来到纽约一家最豪华的酒店应聘。只是凯拉应聘的手段不大光彩，她盗用了他人的简历，成功忽悠了酒店老板，于是摇身一变成为了资历颇深的婚礼策划人。好巧不巧，知名网红本（科林·乔斯特 Colin Jost 饰）与普芮塔（帕拉维·沙尔达 Pallavi Sharda 饰）决定在该酒店举行一场无比奢华的世纪婚礼，这让凯拉顿感压力山大。雪上加霜的是，顽皮聪明的小老鼠杰瑞也来到了酒店，并且在这里住了下来。如此盛大的婚礼怎么可能让一只老鼠搞砸？凯拉连忙找来了高傲自负的老猫汤姆，命令他尽快将杰瑞驱逐出境。于是乎，我们熟悉的猫鼠大战就在婚礼前夕开锣登场……

富士电视台摄制组走遍全国各地，寻找那些与人类相互共存的可爱猫儿。北海道农场的三兄妹，清晨时光或趴在牛背上休息，或小酌刚挤出的牛奶，惬意舒适；宫城县田代岛，爱猫的人们将这里变成猫的天堂；唐人街内，呼呼大睡的强朋，成为人见人爱的招财猫；下半身瘫痪的猫儿平藏，坚强地行走世上，感动无数的人；3岁的阿纯，与田径队的伙伴们渡过难忘的青春岁月；茨城县牛久市，生活在殡仪馆的咪与老爷爷一起念经；因嫉妒谄媚的小狗而躲起来，只在晚上才和主人厮磨的马里奥；不知老奶奶已经去世，小白每天等待老人的归来，流浪在市井街头。此外还有许多身怀绝技的猫儿，为人们带来无尽的欢乐与感动……本片由演员筱原凉子和小西真奈美分别担任解说。