*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.

脑瓜不太灵光的王大凯（张菲 饰）工作时经常闹出笑话，也因此频繁被炒鱿鱼。他任职某商场保安时，为了让总经理见识其盗窃/反盗窃的能力，乔装打扮与保安人员斗智斗勇，甚至化装成机器人四处行窃。彼时，富商蔡德州（金帝 饰）的幼子宝宝（小彬彬 饰）携随从在该商场选购生日礼物，宝宝一眼相中正在胡闹的机器人，不由分说将王大凯买了回去。王大凯的到来给这个失去母亲的孩子带来久违的快乐。某天，宝宝误将父亲珍藏已故母亲的录影带洗掉，大凯提宝宝承担责任，遂遭辞退。失去好友的宝宝重新回到孤独之中……

全世界總共有八種穿山甲，四種分布在非洲、四種在亞洲，可稱得上是極珍貴的生物種類，但現在這個保育類動物，卻面臨被人類吃到滅絕的危機。本系列節目將深入台灣自然部落，看原住民和當地原生穿山甲，如何取得人與自然生代的平衡。另外還要深入中國和越南的交易黑市，一窺穿山甲如何被當作養生聖品，而被人類無情地吃下肚。透過節目呼籲觀眾重視人與生物共生重要。

本片由村田实执导、牛原虚彦担任编剧、提倡新剧运动的小山内薰做艺术指导和统筹，是曾经松竹映画的内部独立制片部门——松竹电影研究所（小山内薰领导）仅存的一部电影（共拍摄了三部）。佐藤忠男：“这部影片对同时发生的三件事进行交叉剪辑，插入回想场面等，对电影感的叙事法下了相当的功夫。作品的完整性倒在其次，知识人应该在下等的电影界点燃起良心的灯火，这部作品作为这种行动的证明，而成为一个大话题，使得知识层去关注日本电影，在这个意义上它对日本电影的进步做出了贡献。