美藉中国人胡子达涉嫌与友人共谋虐杀了25人，胡却把杀人罪名推到在狱中自杀了的共谋身上后被递解出境。他回香港寻一位从前协助过他的兄弟阿敏，一起，记者秋为达到个人的新闻利益用策略令阿敏与胡会面，更使用阿敏诱惑胡兽性大发Giants and Toys was directed by Yasuzo Masumura who is one of Japan's "New Wave" directors. His movie style is quite unlike any other Japanese directors’ films. Like Sato Tadao wrote that Japanese films were fundamentally slower than Western films. But “The film's absurdly rapid dialogue and formally overt techniques shocked contemporary audiences and recall. (Michael Raine，P152)”      In the movie Masumura uses montages in several scenes. “The final destination of such symbolic mise-en-scene is allegory. (Michael Raine，P160)” Mr. Goda’s lighter is most used as a very important symbol in this movie. A lighter that fails to catch becomes the a trigger for several montages:      In the first dialogue scene of the film, after Mr. Goda flicks the lighter, the image turned to a shadow gradually and changed to a double exposure with the factory producing caramels. Another double exposure appears in the two scenes replaces between the image of caramel factory and the image of printing photo of Kyoko, still company with the clicking of the lighter.     Not only the visible image fades into the background, but also the rhythmic sound of the lighter trying to make as a metronome for all the actions. The combination of sound and image shows the idea of everything action likes clockwork. In this sense, it also can be a description of how Japanese social systems dominate the ant-like humans who service them.      Mr. Goda’s lighter doesn’t work in the background again, a new montage of Kyoko’s poster and magazine cover showing her increase in popularity. It like a metronome follows certain rhythm. Same way as the scene with caramels are being made, this montage gives the idea that Kyoko’s fame is seen also like clockwork. Each advertisement of Kyoko in World’s told audiences how her fame increases, also increases their product’s popularity.       Repeating the broke lighter malfunctioning and the clicking noises composed montage element as a metaphor for the motion of in the film.      Although on the surface this film is farce, its purpose is deadly serious: To critique the evolution of corporate culture and the manifestation of celebrities during Japan’s economic boom in the late 1950s.