新宿的疯狂新宿マッド (1970)

导演: 若松孝二
编剧: 足立正生
主演: 谷川俊之 / 江岛裕子 / Makiko Harada / Akiko Hirooka / Yôko Ohno / Etsuko Sakata / Tadaharu Sekine / 寺岛干夫
类型: 剧情
制片国家/地区: 日本
语言: 日语
上映日期: 1970
片长: 66分钟
又名: Shinjuku mad
IMDb: tt0291478

豆瓣评分

8.1

242人评价

5星

41.1%

4星

23.3%

3星

32.9%

2星

2.7%

1星

0.0%

想看看过

评价:

新宿的疯狂的剧情简介 · · · · · ·

　　*Shinjuku Mad* was one of
　　Koji 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 fi... (展开全部) 　　*Shinjuku Mad* was one of
　　Koji 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.

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新宿的疯狂的短评 · · · · · · ( 全部 33 条 )

1 有用内陆飞鱼看过 2011-05-08 16:57:08

嬉皮士了。

1 有用小军很开心看过 2023-12-28 03:36:09 上海

年度最佳非此莫属，若松的叙事能力进入七十年代成熟了一大截，纵使有着生硬的表演痕迹也无法掩盖此片如此完整如此闪烁如此深刻的表达。如果说《ゆけゆけ》是浓墨重彩的浪漫一笔，哈姆雷特式年轻悲剧英雄向虚无的复仇，《新宿マッド》就是一声中年代达罗斯面对命运无力而悲壮的质问，转身离开既是宽恕也是妥协。而迷醉于感觉与颠覆本身、笃信存在先于本质的嬉皮士们永远不会明白，为什么总有人紧紧地追问意义，义无反顾地为一个身体... 年度最佳非此莫属，若松的叙事能力进入七十年代成熟了一大截，纵使有着生硬的表演痕迹也无法掩盖此片如此完整如此闪烁如此深刻的表达。如果说《ゆけゆけ》是浓墨重彩的浪漫一笔，哈姆雷特式年轻悲剧英雄向虚无的复仇，《新宿マッド》就是一声中年代达罗斯面对命运无力而悲壮的质问，转身离开既是宽恕也是妥协。而迷醉于感觉与颠覆本身、笃信存在先于本质的嬉皮士们永远不会明白，为什么总有人紧紧地追问意义，义无反顾地为一个身体之外的理由而活。 (展开)

7 有用辽东胖尊者看过 2011-09-03 19:23:02

大棒捅烂一切把身体解放当做革命隐喻的小嬉皮子的菊花

0 有用桃桃林林看过 2007-02-11 12:08:58

玩虚无

0 有用枯川满看过 2012-07-02 15:09:32

妈的，早期若松真给劲啊

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新宿的疯狂的影评 · · · · · · ( 全部 2 条 )

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格也 2006-10-23 22:42:08

非理性观影，片段评论

　　我好容易看到这片子了，却是全日文对白又基本上没有字幕的。汗。　　可是我还是看完了。就算是当做MTV看也不错的。响彻整部影片的爵士乐，庸懒、颓靡，非常好听。那个乡下来的男人，就在这样的音乐中，在那些醒不过来的，拿吉他的，做爱的青年中寻找杀害他儿子的凶手。没... (展开)

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kavkalu 2006-08-15 23:33:58

《新宿的疯狂》肉艳的新宿

所有的发生在当下事件都是国家威权关注着的有限发生 ――――卡夫卡·陆（KavkaLu） http://www.rmblog.com/user3/18245/upload/20068152781.gif 对于当代社会症结帕索里尼说得非常明白：这种高度组织化的消费社会正是新形态的、改头换面的法西斯主义对于70年代日本粉红电... (展开)

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