*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.

宫泽饰演的主人公井川迅因为害怕被周围人知道自己是gay而独自从东京来到乡下，他曾经喜欢的日比野渚（藤原季节）却时隔8年带着女儿再次出现。

鸦片战争前夕，大侠黄飞鸿（王珏 饰）协助钦差大人林则徐（鲍方 饰）查禁鸦片。十二贝勒（熊欣欣 饰）勾结烟商决定亲自来广州对付黄林二人。广东富商苏仁（吴孟达 饰）的儿子苏灿（甄子丹 饰）武功了得，苏灿的女友戴懿德（袁洁莹 饰）刚从国外回国，遭到火莲教袭击，苏灿为救女友用巨型炮仗炸毁了太平鼓还伤及了无辜。黄飞鸿得知此事后找到苏灿理论，苏灿对黄不满矛盾由此而生。十二贝勒知道两人不和趁机挑拨，想利用苏灿对付黄飞鸿。暗恋苏仁的小姨峭牙珍（陈淑兰 饰）因为误会率领众人去破坏戴懿德的妇女会，与此同时戴发现了十二贝勒的阴谋，但反被十二贝勒抓住，苏灿为救戴被十二贝勒擒住，还让苏灿染上了毒瘾。受到挑拨之后的苏灿前去行刺林则徐，与黄飞鸿发生打斗，戴懿德终于出现说明了真相，苏灿懊悔不已一蹶不振。幸亏老乞丐（关海山 饰）出现帮助苏灿戒毒成功，在千军一发之际苏灿出现帮助黄飞鸿制服了十二贝勒。

《LAST FRIENDS 最后的朋友》特别篇