百家讲坛 大话西游

炎热的海南省，热爱射击但枪法奇差的大型装潢公司老板陈总（陈佩斯 饰）刁难射击馆的美丽女教练于林（徐琳 饰），于林不屈不挠，虽挫败陈总的锐气，却也令自己丢掉饭碗。在此之后，新型建材专业出身的于林成功应聘陈总公司的工程师职务，由于该公司仅招收未婚单身女性，于林只得隐瞒育有一个11岁儿子于同（叶静 饰）的事实。而年近四十的陈总对于林甚有好感，当他好不容易按打听来的地址来到于林家拜访时，却把于同当作她的弟弟，于同则将其错认为修马桶的师傅，两人很快成为了好朋友。认真执拗的于林对待工作极其负责，而她的作法也得到陈总的支持。当然若想修成正果，他们的道路还很漫长……

阿四（叶德娴 饰）少时结识了一表人才的中医药师家明（关海山 饰），与其坠入情网，生死相依。跟随着家明，阿四孤身一人来到了香港，在这里，家明有一位正房太太阿香。痴情的阿四不求名分，只希望能够陪伴在家明的身旁，帮助家明完成他开中药店的愿望。爱莲是家明和阿香的女儿，她嫁给了富商志超，然而，志超亦有着妻室，阿四眼看着爱莲即将走上同自己一样的道路。深知其中苦楚的阿四对爱莲苦苦相劝，但爱莲并不领情，阿四只得帮着爱莲将此事同家明和阿香隐瞒。然而，纸终究包不住火，当家明得知一切的真相，愤怒的他错怪了阿四，带着阿香远走高飞。

*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.

婉秀（金荷娜 饰）这名大二的学生因为家中经济条件的问题，不得不赚钱打工。婉秀找到了家教的工作，她的学生吉勋（权相佑 饰）是家中的少爷，读书不勤奋以致他即便与婉秀同年如今也只读高中。吉勋娇生惯养性格暴躁，与婉秀见面便不断争吵。吉勋面对衣着老土的婉秀很不满意，但在长时间的相处以来，他才发现婉秀的纯真善良。同样，婉秀也发现吉勋即便是个公子哥儿，但他十分重情重意的。两个人的故事又将如何继续呢？