阿美（温碧霞 饰）在无意之中成为了一宗珠宝抢劫案的目击者，扒手头头罗伊（张耀扬 饰）趁乱将一条价值连城的钻石项链放进了阿美的包里，在这个节骨眼上，阿美得知自己的男友在缅甸仰光遭到了绑匪绑架，绑匪要求阿美在三天之内交出二十万美金的赎金，否则她的男友就将性命不保。阿美决定利用手上的钻石项链。那边厢，钻石项链的主人找到了罗伊，命令他在五天之内找到项链的下落，就这样，阿美和罗伊同时坐上了飞往仰光的飞机。谁知道半途中飞机遭遇了风暴，一行人被迫降落在了曼德勒，那里正在进行一场激烈混乱的内战，冒着枪林弹雨，两人能否安全抵达目的地？

生来知己——《山河令》主题演唱会春末夏初，我们在苏州，不见不散。

*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.

本片为程刚于1969年导演的卖座武侠片，由娃娃影后李菁领衔主演。故事描述，平西王曹国威因与金龙山强盗结仇，女儿曹翠娥被掳走；曹非常焦急，请剑侠岳震北帮忙，岳估计一人之力不够，遂邀友之妹、百步穿杨的神箭手马金铃一同去金龙山破盗寨；他们又去找深通水性的渔夫李小七；李又推荐力大如牛的樵夫牛迈；四人步步小心，途上又遇暗中相助的神偷梁上飞…