處子之身

　　凌兆祥（王晶 飾）和妻子（夏文汐 飾）開開心心地搬進(jìn)了新置的豪宅，準(zhǔn)備享受全新的生活。盡管豪宅里怪象頻出，佛學(xué)專家許禪（莫少聰 飾）亦給予了凌兆祥警告，但沉浸在興奮中的凌兆祥并沒(méi)有將這一切放在眼里?！　∑拮討言凶∵M(jìn)了醫(yī)院，再度變回“單身漢”的凌兆祥怎么可能放過(guò)這次難能可貴的機(jī)會(huì)？他伙同損友歐公子（陳百祥 飾）和屈臣氏（曹查理 飾）外出狂歡，并且邂逅了美麗女子冰淇（關(guān)之琳 飾）。凌兆祥同冰淇一夜溫存，事后，對(duì)妻子心懷愧疚的凌兆祥決定斷絕同冰淇的往來(lái)，沒(méi)想到，不愿意放過(guò)他的，不僅僅是冰淇，還有冰淇身后那一干早已化作冤魂厲鬼的家人們。

　　在物欲橫流的社會(huì)里，高利貸公司CowCow Finance的事業(yè)繼續(xù)蒸蒸日上。然而，隨著某日突然來(lái)訪的，將社長(zhǎng)丑島馨稱呼為“小馨”的中學(xué)同班同學(xué)竹本的出現(xiàn)，丑島的過(guò)去逐漸被揭開。丑島與盟友戌亥、得力下屬柄崎和高田不得不面對(duì)來(lái)自知曉丑島過(guò)去故事的最強(qiáng)敵對(duì)者鱷戶三兄弟、與丑島舊恨未了又添新仇的女性高利貸者犀原茜、欲要?dú)绯髰u的十分有手腕的律師都陰以及立場(chǎng)無(wú)法判明的竹本的多重挑戰(zhàn)，CowCow Finance史上最大危機(jī)來(lái)臨……

　　東寶ビデオのシネパック第一弾として、1991年11月8日にリリースされたのがこの『ミカドロイド』である。　　第二次大戦末期、敗色濃厚な日本。その中で帝國(guó)陸軍が極秘裏に研究していた秘密兵器、それが人造人間“ジンラ號(hào)”。敗戦とともに歴史から抹消されたジンラ號(hào)であったが、空襲で埋沒(méi)した研究所の中、眠り続けていた一體があった。そして今、半世紀(jì)の歳月を経て、ジンラ號(hào)が東京の地下に蘇る！　ふとした偶然でその地下迷宮に迷い込んでしまった若い男女二人は何を見るのか？　未完成の人造人間として老いる事も出來(lái)ずに彷徨い続けてきた謎の男、彼は一體何を望むのか？　本作は舞臺(tái)となる場(chǎng)所と時(shí)間が狹い範(fàn)囲に限定されているため、物語(yǔ)の密度が濃く、一夜限りの幻想的な悪夢(mèng)のような作品となっている?！　ˉ弗螗樘?hào)のデザインを擔(dān)當(dāng)したのはイラストレーターの明日蘭。蒸気機(jī)関車のような舊式なラインでまとめられているジンラ號(hào)は一見ユーモラスで鈍重な外見だが、內(nèi)に潛ませた悪夢(mèng)と狂気が不思議な説得力を持ち、印象深い仕上がりとなっている。またジンラ號(hào)専用武器として設(shè)計(jì)されたという設(shè)定の“１００式短機(jī)関銃改「ベ式」テラ銃”は、當(dāng)時(shí)の落下傘部隊(duì)が使用した実銃をモチーフにいかにもそれらしくまとめられており、ジンラ號(hào)の設(shè)定をよりリアルな物としている。その他、南部十四年式拳銃や９６式軽機(jī)関銃などの各種プロップガンもリアルな作動(dòng)シーンを見せて畫面を引き締めている?！　”O(jiān)督を務(wù)めたのは特殊メイククリエイターとして有名な原口智生。本作は原口自身が長(zhǎng)年あたためてきた企畫で、原口の監(jiān)督デビュー作となった。

　　Set in an underground dungeon inhabited by bundled, ragged human beings, after the nuclear holocaust. The story follows the wanderings of a hero through the situations of survival. People wait for the Ark to arrive and rescue them while their habitat falls apart.　　Delving deep into the dusty and long abandonded vaults of b-cinema in search of lost gems always leaves me with a bittersweet taste. On one hand the discovery of unexpected gems where no one would think them possible is a rewarding experience. On the other hand though it makes one wonder how many of these remarkable low-budget oddities, personal love affairs of directors never quite famous and now all but forgotten, have almost forever slipped from memory?　　n any case what we have here is a little post-apocalyptic gem from Poland that is really better than it has any right to. The dystopian near future of O-BI, O-BA finds a group of survivors of the nuclear war that ravaged the Earth inhabiting an underworld concrete bunker and biding their time as they wait for the mysterious Ark, an air ship of some kind that will come and save them. The Ark proves to be an elaborate hoax, carefully designed to give hope to the malnourished and desperate denizens of the bunker, while in the meantime the dome that separates their miserable existence from the nuclear winter outside is slowly caving in.　　What first striked me about the movie is the design of the bunker and the depiction of the survivors. The survivors are gaunt, filthy and terrible-looking penitents, dressed in rags and aimlessly wandering the neon-lit halls of the bunker like automatons. The bunker is a rundown, seedy place, with bright neon lights peering from all sides like the eyes of malignant beasts.　　On one hand it is a slightly 80's depiction of the dystopian future but the movie never stoops down to MAD MAX cheese. Instead it combines biting political satire with the bleak outlook of a world with no future, black comedy with barbs on apathy, religion and power. The survivors, for example, are fed some kind of flour dropping from a tube that hovers in the air - later on we discover the food supervisor uses books and the Bible itself as filler for this meagre meal. There are many such short symbolic touches, perhaps not life-changing or faith-restoring, yet playful, clever and inspired.　　One thing is for sure; O-BI, O-BA is not your run-of-the-mill sci-fi schlock. It overcomes its modest budget with creativity and has genuine artistic aspirations both from a writing and directing perspective. My opinion is that it should have been filmed in black and white instead of colour though. The director uses atmospheric light and shadow to great effect and it would have registered even better in stark black and white. The blue-green neon on the other hand outstays its welcome after a while. Just a minor gripe in an otherwise solid b-movie with its heart set in all the right places.　　Imagine a less bleak THE ROAD (Cormac McCarthy) being injected with the satire and humour of DR.STRANGELOVE and you're getting there. See it if you can find it.