方蓉（叶全真 饰）的男友丢下她奔赴香港发展演唱事业，临行前把房子转租，新房客骆世豪（王杰 饰）与方蓉暂居同一屋檐下。世豪好友浩子（庹宗华 饰）归来，暗恋浩子的小茹苦于心迹不被理解，而站在小茹背后的小鸡（张雨生 饰）同样承受着相思之苦。浩子为了前女友董婷与摩托党头目黑鹰对峙，这令小茹伤心不已，而董婷夹在两个男人中间，亦无法割舍昔日的情意。世豪与方蓉日久生情，更因为音乐事业展开合作；另一方面浩子离开了这班朋友，去打黑拳消磨心头之苦。世豪与小鸡经由方蓉提供的机会再度触摸到了昔日的音乐梦想，而浩子却与一名强悍对手展开生死对决……

A recovering alcoholic and jazz pianist in NYC confronts his acerbic family during their annual Fourth of July vacation.

【幕后制作】拍摄动机起于一九五四年轰动一时的近江绢系公司的女工罢工事件。不过电影则改以大学女生抗争学校不合理的束缚为主线。京都的正伦女子大学是一所思想保守，培育学生成为贤妻良母的大学，对于学生的私生活予以严历的管束，与男学生交往者一律以退学为惩。其中泷冈富子是位外向奔放的女孩因与男生交往而受到退学的处分，村野明子是学校经费捐赠人之女，却站在与家庭相反的立埸，在学校发表左翼的激动言论，煽动学生响应反封建运动，由于明子的做法过于激进终遭失败，最后由于出石芳江之死终于引了学生群起抗议的高潮， 藉此争论。导演木下惠介也表达了左翼学生往往陷入人性弱点无法自拔的观点。本片曾可说是十几年后全球性学生运动的预言作品。而由某些角度看一九六O年前后，大岛渚导演的新左翼激进作品中也可见本片的影响。本片除了描述对封建教育的憎恶，反映社会问题外，抒情场面也优美突出。

Ono’s work related destruction to interpersonal, often intimate, human relations. This element was particularly thought-provoking in ?Cut Piece?, one of many actions she did as DIAS [Destruction in Art Symposium]. Ono had first done the performance in 1964, in Japan, and again at Carnegie Hall, in New York, in 1965. Ono sat motionless on the stage after inviting the audience to come up and cut away her clothing, covering her breasts at the moemnt of unbosoming. ?Cut Piece? entailed a disrobing, a denouement of the reciprocity between exhibitionism and scopic desires, between victim and assailant, between sadist and masochist: and, as a heterosexual herselft, Ono unveiled the gendered relationship of male and female subjects as objects for each other.(source: Kristine Stiles,?Uncorrupted Joy: International Art Actions,? in: Out of Actions: between performance and the object, 1949–1979, Paul Schimmel (ed.), MoCA Los Angeles, New York/London, 1998, p. 278.)