| Meiko Kaji | ... | Yuki Kashima (Shurayuki-hime) | |
| Toshio Kurosawa | ... | Ryûrei Ashio | |
| Masaaki Daimon | ... | Gô Kashima | |
| Miyoko Akaza | ... | Sayo Kashima | |
| Shinichi Uchida | ... | Shirô Kashima | |
| Takeo Chii | ... | Tokuichi Shôkei | |
| Noboru Nakaya | ... | Banzô Takemura | |
| Yoshiko Nakada | ... | Kobue Takemura | |
| Akemi Negishi | ... | Tajire no Okiku | |
| Kaoru Kusuda | ... | Otora Mikazuki | |
| Sanae Nakahara | ... | Kitahama, Okono | |
| Hôsei Komatsu | ... | Genzô Shibayama | |
| Makoto Matsuzaki | ... | Daikashi | |
| Hiroshi Hasegawa | ... | Daihachi Kachime | |
| Takehiko Ono | (as Susumu Kuroki) | ||
| Hitoshi Takagi | ... | Matsuemon | |
| Mayumi Maemura | ... | Young Yuki | |
| Kenji Ôkura | ... | Henchman | |
| Ichirô Kijima | |||
| Shôichi Hirose | |||
| Kai Atô | ... | Henchman | |
| Eiji Okada | ... | Gishirô Tsukamoto | |
| Kô Nishimura | ... | Priest Dôkai |
Directed by | |||
| Toshiya Fujita | |||
Writing credits | ||
| Kazuo Kamimura | (story) & | |
| Kazuo Koike | (story) | |
| Norio Osada | screenplay | |
Produced by | |||
| Kikumaru Okuda | .... | executive producer | |
Original Music by | |||
| Masaaki Hirao | |||
Cinematography by | |||
| Masaki Tamura | |||
Film Editing by | |||
| Osamu Inoue | |||
Production Design by | |||
| Kazuo Satsuya | |||
Production Management | |||
| Hiroshi Tanno | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Kiyoshi Segawa | .... | assistant director | |
Sound Department | |||
| Noboru Kamikura | .... | sound | |
| Noboru Nishio | .... | sound mixer | |
Camera and Electrical Department | |||
| Naomi Hashiyama | .... | still photographer | |
| Choshiro Ishii | .... | electrician | |
Other crew | |||
| Kunishiro Hayashi | .... | sword choreographer | |
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| Kill Bill: Vol. 2 | Kill Bill: Vol. 1 | The Professional: Golgo 13 | Azumi | Munich |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Action section | IMDb Japan section |
This film has obviously gained a lot of attention since Quentin Tarantino's Kill Bill Volume One and Volume 2 came out. I am not ashamed to admit I got interested in it after it being linked to Kill Bill, but then again, I hadn't heard of it until a while after the Kill Bill movies came out, and I thought it sounded like something I'd be interested in, my kind of movie. And it definitely is.
Let's get it out there in the open: this film is really silly. It has those great seventies Kung Fu noises when someone jumps up in the air unlike any human could, as well as noises when someone shoves a sword into the enemy. But because it's silly don't jump to the conclusion that there isn't a point to watching it. Sure it's just entertainment. But the story is one of the best I've ever witnessed, and not because of the blood and guts.
The story is of course about revenge, but the revenge spawns from a woman who gives birth to a daughter and swears that the daughter must be an instrument of revenge on those that messed with her mother. (A silly premise, but here's where it becomes cool). Meiko Kaji who plays Lady Snowblood, also known as Yuki, doesn't spend the movie wrapped in evil and revenge with anger on her face. There's genuine hurt in her performance. It is actually extremely sad that all she is is an instrument of revenge and death, but that's what weighs the film down into some sort of believability.
The sets are standard Japanese action sort of sets but they have that certain charm about them that's easy on the eyes, it locks the film into this particular recognizable genre but still stands on its own two feet as a film. Also another standard in this genre is freeze frames. Usually I like to comment on shots that continue movement but a certain frame, frozen or still moving, is my favourite of a film. Now, one freeze frame (if memory serves me correctly, the only one), of the baddie coming up some stairs, that may be the second Shurayukihime (apologies if it is) and one side of her face is visible in the freeze frame to alert the audience of this woman's arrival. It is laughable in this but laughable for the right reasons: it isn't corny or annoying, but it's a genuine charm of this genre.
Many standards of this genre may stop you from watching this but watch it for the genuine heart-wrenching story of Yuki Kashima, also known as Shurayukihime, Lady Snowblood.
A genuine piece of cinematic gold that is also entertaining and worth a watch.