新宿的疯狂 新宿マッド 新宿マッド (1970)

*Shinjuku Mad* was one ofKoji Wakamatsus 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 films 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. Theres a cut, the band changes the direction of the song a bit, and then were 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. Were 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 doesnt 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, thats a fucked up way to start a movie. If youre still reading, Ill have you know the brutality eases up a little, but the cameras tendency to seek out each scenes more lurid details is relentless. The band never lets up, either. Another constant feature of the film is the protagonists alienation from society. Thats a pretty dated-concept, in a way. This film is cashing in on what could loosely be called the Existential demographic in 1970s 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 sons 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 sons 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 were treated to what must have been Tokyos 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. Its 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 mans mind is blown by revolution for revolutions 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 hes 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.《新宿疯子》是Wakamatsu 1970年拍摄的六部电影之一。冷酷而坚韧，冷酷而坚定，背负着反道德的重担，慷慨地充斥着性，完全被现在需要发行的原声音乐所救赎。我对这部电影一无所知，把它上传到我的笔记本电脑上，这部电影的每一分钟都让我全神贯注。容忍我。影片一开始，乐队骑着自行车进行了爵士式的狂欢，黑色和画面描绘了一个现代城市中死去的日本人。从贫民窟的小巷到公园的中心，到处都能看到尸体。这段介绍的结尾是一个浑身是血的裸体女人脸朝下的镜头。到这个时候，乐队已经达到了一个顶峰。有一个剪辑，乐队稍微改变了一下歌曲的方向，然后我们被邀请到市中心的一系列外景拍摄，也许是午餐时间。你可以看到很多店面和楼梯间，人们在走动。这些拼接中的所有人都是在负面图像中完成的。下面的情况只能用“悲惨”来形容。演职员表完成后，卷筒就会变成彩色。我们在屏幕上看到一个穿着长袍的年轻人被刺伤，攻击他的人剥去了他特别的女性朋友的长袍，花了大约两分钟用仍然温暖的血液涂抹她的乳房，然后轮番强奸她。她似乎不怎么反抗。整个场景被笼罩在电视广告对全食超市(whole foods market)的热情之中。好吧，这是一个糟糕的开始电影的方式。如果你还在看，我想让你知道这种残酷的场面会稍微缓和一些，但镜头倾向于寻找每个场景中更可怕的细节，这是无情的。乐队也从不松懈。这部电影另一个不变的特点是主人公与社会的疏离。在某种程度上，这是一个相当过时的概念。这部电影是在利用上世纪70年代的日本所谓的“存在主义人口”。部分内容可以由Oe编写。其他三岛。当然，在某些时候，它解决了一些挥之不去的革命气息，但更多的是在后面。被彩色颜料刺伤孩子的父亲出现在鸟巢的卷筒里，他的儿子就是在同一间公寓里被谋杀的。这位困惑、悲伤的父亲向完全成熟的浅原正子(Shoko Asahara)询问导致儿子死亡的事件。一头长发的“无良尼克”(no-goodnik)坐在一个锋利的小玩意儿上。他兴奋得昏倒了，爸爸被留在空无一人的公寓里，电话响个不停。所以，故事情节基本上是在越来越大的背景下进行的那种交流，中间穿插着幻想破灭的父亲穿过工业贫民窟的精彩镜头。父亲，寻找“为什么”他的儿子的死亡，继续他的追求和小便几乎每一个他接触的人离开。他进入地铁站，完全杀死一些殴打的嗡嗡声。然后他在一个公园里欺负了一个哈瑞·克里希纳摇滚巨星和他的肚皮舞打击乐手。然后他去了一家酒吧，我们在这里看到了东京最伟大的车库乐队，他们变得越来越堕落和肮脏。这一幕很好地概括了这部电影的内容。当你挖掘这些毛刺和绒毛的时候，相机捕捉到了各种各样的退化和肆意使用冷藏箱的景象。酒吧里至少有三组人在亲热。它们会过度地摸索。最终，父亲抓住了凶残的杀人强奸犯团伙的头目。“新宿疯了，”这是他的名字。在主人公和新宿Mad之间进行了一场令人难以置信的漫长而复杂的交流之后，Mad和他的孩子们开始反抗整个日本。除了他们之外，每个人都可以参加。他的儿子只是个伤亡者，没有人身伤害。他们的意图是通过对人民和财产的任意暴力行为继续反叛社会。在经历了新宿发疯的种种烦恼之后，老人的心被革命的缘故而革命所震撼。打了几拳后，他设法扭转了局面。最后，他带着一个全裸的女孩离开了，整个场景她都被绑在柱子上。他回到他的儿子被谋杀的公寓，发现他特别的女朋友赤身裸体，和其他六只吸食毒品的猫在自由恋爱和蓝球上嬉戏。他觉得新宿的《Mad alive and kicking》让他更开心，乐队又到了另一个高点，镜头移到铁路场院、电话线和现代建筑的裸露侧面。那是37年前的日本。