It's snowing and the thermometer is dropping well below freezing. Felix is cold. In his house a statue puts on a blanket, an alarm clock puts gloves on its hands, and a man in a painting puts on a hat and scarf.
The Seven Lucky Gods (or kami, meaning both "hair" and "gods") live in the Takada’s barber shop in Tokyo—a set based on a real-life now-lost local store close to Murata’s heart—where they play charming tricks on the family of four.
In a Canadian mountain resort, Vixen Palmer resides with her naive pilot husband Tom. While he's away flying in tourists, she sleeps with practically everybody including a husband and his wife, and even her biker brother.
Forced behind British lines by engine problems, the Red Baron camouflages his plane, swaps uniforms with a dead soldier, and, posing as a Belgian, makes his way to a hospital.
Centring on the legend of the four ancient Chinese heroines, the film was a novelty for audiences at the time, as the singing performance was in Cantonese and used huangmei operatic rhythms—a popular trend in the 1960s, yet it retained traditional flavours by using operatic luogu percussion in the battle scenes.
There's nothing like a good, opulent, gaudy musical to lift the spirits, but when it's a 1960's Hong Kong musical orchestrated by a Japanese director and composer, it breaks through the ranks as a classic of campy kitsch.