Lady Snowblood (1973)

A young girl is born and raised to be an instrument of revenge.

Director:

Toshiya Fujita

Writers:

Kazuo Kamimura (story), Kazuo Koike (story)

Stars:

Meiko Kaji, Toshio Kurosawa, Masaaki Daimon

Cast

Cast overview, first billed only:
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)

Storyline

Yuki's family is nearly wiped out before she is born due to the machinations of a band of criminals. These criminals kidnap and brutalize her mother but leave her alive. Later her mother ends up in prison with only revenge to keep her alive. She creates an instrument for this revenge by purposefully getting pregnant. Though she dies in childbirth, she makes sure that the child will be raised as an assassin to kill the criminals who destroyed her family. Young Yuki never knows the love of a family but only killing and revenge.

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Plot Keywords:

revenge | prison | childbirth | first part | female protagonist | 

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Genres:

Action | Drama | Thriller

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Certificate:

Not Rated

Details

Country:

Japan

Language:

Japanese English

Release Date:

1 December 1973 (Japan)

Also Known As:

Lady Snowblood

Company Credits

Production Co:

Toho Film (Eiga) Co. Ltd.

Technical Specs

Runtime:

97 min

Sound Mix:

Mono

Color:

Color

Aspect Ratio:

2.35 : 1

Did You Know?

Trivia

Meiko Kaji was originally supposed to say the word "tears" at the end, but this line was ultimately cut from the film.

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Goofs

This film is set in the late 19th Century, however, during the masquerade party there are various modern day flags on display including but not limited to: Pakistan (created in 1947), Australia (created in 1901), and the 50-star flag of the United States (introduced in 1960).

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Quotes

Narrator: People say you can't wash away the mud of this world with pure white snow. You need asura snow - stained fiery red.

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Connections

Referenced in The Raid 2 (2014)

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Soundtracks

The Blue Danube
(uncredited)
Music by Johann Strauss

User Reviews

Beautiful and iconic revenge tale

In 1874 Japan, a woman gives birth in a prison. Almost a year before, the woman, Sayo (Miyoko Akaza), her husband and son are attacked in a village by four criminals - Okono (Sanae Nakahara), Banzo (Noboru Nakaya), Tokuichi (Takeo Chii) and Gishiro (Eiji Okada). The husband and son are murdered in cold bold, and Sayo is taken by Tokuichi to work for him. After Sayo murders him, she is sent to prison, where she has sex with many guards in the hope of becoming pregnant, to give birth to a child that can avenge her. That child is Yuki (Meiko Kaji), who after receiving years of training from a priest, becomes Lady Snowblood, a lethal assassin whose only thirst is for revenge.

While this may sound similar to countless martial arts or samurai films to come out of Japan and China during the 1970's, there's something profoundly different to Lady Snowblood. While it certainly offers scenes of outlandish violence (the blood spurts from the body like a gushing fountain), director Toshiya Fujita, taking inspiration from the manga Shurayukihime, seems more interested in building the foundation to the sweeping story than having scene after scene of flying limbs. Separated by title-carded chapters, the film makes a point of giving us a decent story to each target, subtly interlinking the stories to make sure they flow, rather than simply jumping from one person to the next.

What also separates this from others of similar ilk on the grindhouse circuit is the cinematography by Masaki Tamura, which is nothing short of beautiful. I promised myself I would try and get through this entire review without mentioning Quentin Tarantino's Kill Bill (2003-2004), but it's not hard to see why he chose to steal (sorry, it's 'homage' when its Tarantino doing it) the same setting and colour palette. Every scene is wide and lovingly crafted, and when the violence ensues, it turns out that red on white is truly stunning. It may not have the outlandish violence of, say, the Lone Wolf and Cub series (1972-1974), but this has a calm yet quick slash of a sword, rather than an extended sword fight, and the film is clinical in that aspect to say the least. While the pace may be often too slow, this is still a satisfying revenge drama featuring one of the most iconic character of its genre.

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