Author/illustrator Sanpei Shirato’s Ninja bugei-cho was a popular graphic novel serialized across Japan in the 1960s, well loved by students and leftist radicals for its tale of a young boy’s alliance with a band of ninja during a peasant uprising. Nagisa Oshima takes an experimental approach to adaptation; out of deep respect for Shirato’s artistry (and his usual cinematic prankishness), he films Shirato’s images as they appear on the page, like an anime version of Sans soleil, with the camera hovering and darting over each “scene” to provide movement and life. Adding voices, sound effects, and a narration that connects the plot’s myriad strands, Oshima intervenes in yet another unexpected genre to create a fascinating treatise on cinema, narrative, and action.
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Foster is fired when he is found drunk in a bar instead of covering the biggest fight of the year. After finding that no one in town will hire him, he goes back to the bar and meets a man named Perkins who owns an ad agency. Tricky phrases are no problem for Foster so the firm grows rapidly and becomes Perkins and Foster. When Foster decides to get the Adrienne Deane Cosmetics account, he also lasoo’s Adrienne which upsets his steady gal friend Peggy. Trouble comes to a head when Perkins decides to leave the agency as he believes that Foster is an unscrupulous ad man who sells dangerous items for money.
When a rapacious new landlord threatens to evict him, seize his horse, and leave him penniless, the young farmer Dick Turpin flees to London and reluctantly establishes himself in the underworld with the help of a street-smart boy.
When they decide they might as well be penniless husbands and wives as penniless campus sweethearts, three couples at a Midwestern university, against the advice of their friends, get married. Joe and Susie Tucker prove that two can live as cheap as one by setting up housekeeping in a trailer, and working at whatever odd jobs turn up. Slats and Jennifer Warwick marry because they can fight better under the same roof then when separated, and use Jennifer’s allowance from home to pay for their groceries. John Gregory, a brilliant pre-med student, and his bride, Kay, are in the most serious situation.
The legist doctor, Juan Carlos Lozano, is in charge of investigating a series of murders of women. However, he wishes to renounce the case, since he has had nightmares about a mysterious man without a face. Without knowing what to do, he goes with his friend and psychiatrist Eugenio Britel, who encourages him not to give up on the investigation, as well as to start a treatment to discover the reason for his dreams.
The bizarre hallucinations of a heroin addict in withdrawal provide the basis for this unstructured, autobiographical film by director Conrad Rooks. It begins as he arrives strung-out in Paris for a sleep-cure. As the strange visions begin, the story jumps haphazardly between reality and his dream-world memories of growing up in Chappaqua, New York. The score was composed and played by sitarist Ravi Shankar.
Czech immigrant Frantisek Král has a terrible car accident in West Berlin. The West German secret service immediately takes advantage of the situation, provides him with a new identity and starts training Král, who is suffering from partial amnesia, to become a spy and to get hold of a microfilm from Prague. At first everything goes according to plan, but when he realises his home town is anything but the dreary, suffering place that had been drummed into him, things move in a different direction…
After moving into a new home, couple Bobby and Teeny begin constant arguing. Bobby is busy with his new job at a local factory, and Teeny, who has a bad past with her daughter Robbie, is left in charge of the household, leading her to take out her stress on Robbie until the intervention of a helpful and caring woman named Mary gets Teeny’s attention. But is it already too late?