Lady Snowblood: What would Quentin have done without her?

Filmbrain finally had a chance to see Lady Snowblood, the 1973 Toho film that was a huge source of inspiration for Quentin Tarantino when writing Kill Bill -- though Quentin took more than just the storyline. The film shares quite a bit with the Lone Wolf and Cub and Zatoichi series, which were made around the same time -- all are period pieces with strong characters, lots of close-ups, and geysers of bright red blood that ejaculate from those that taste Yuki's (aka Lady Snowblood) blade. The story takes place during the Meiji restoration, a rather chaotic period in Japan's history (the film includes a brief history lesson for those not in the know), and tells of a woman who was born with and for one purpose only -- to complete the roaring rampage of revenge that her mother could not. Unlike Kill Bill, there is a strong political subtext to the inciting event -- the murder of Gou and rape of Sayo (Yuki's mother) by a band of brigands occurs when they mistakenly identify Gou as a government official. Sayo, determined to take revenge, kills one of her attackers, but is sent to prison. There, she beds every prison guard possible so that she may give birth to a child that will complete her task. Enter Yuki. Trained as a child to be a killer, her lifelong quest becomes the hunting down of the remaining three. The most interesting thing about the film is the way in which Yuki is portrayed. Like a machine programmed to perform only one function, there is nary a moment where Yuki is shown doing or thinking about anything else, and actress Kaji Meiko plays her to stoic perfection -- so much so that her one big emotional outburst at the film's conclusion feels like a pressure valve being released.

With Kill Bill, Quentin turned the Lady Snowblood story into a more personal tale of individual revenge, with both The Bride and O-Ren taking qualities of Yuki and her mother Sayo. But the similarities don't end there. There are visual elements in Lady Snowblood that found their way into Tarantino's film, including the use of close-ups, an anime section (manga in Lady Snowblood), and, well....the shot shown on the right. Both films are told in non-linear fashion, though that's something that Tarantino has used in almost all of his films. The use of chapter headings was also lifted, although Tarantino settled for simple descriptive titles (The Origin of O-Ren) instead of something more poetic (Crying Bamboo Dolls of the Netherworlds.) Both films feature climactic fight scenes in snowy courtyards, use the song Shura no Hana, and end with a perfect opportunity for a sequel. (A Lady Snowblood sequel exists, though Filmbrain hasn't seen it yet.) Unlike Reservoir Dogs, which is an un-credited port of Ringo Lam's City on Fire, Tarantino has been very forthcoming about the films that influenced Kill Bill, and this review is not about accusing him of any shenanigans. However, Filmbrain's biggest gripe with Kill Bill is that Tarantino spent so much time paying homage that he got lazy with the screenplay. But let's not open that can of worms again. . . Lady Snowblood isn't a great film, but it is a fine example of the type of films Toho Studios was producing in the early 70's. Besides the aforementioned performance by Kaji Meiko, one of the best things the films has to offer is a super-cool psychedelic free-jazz score that works, even though it's far out of place in a Meiji restoration period film. (Available on Netflix.)

Comments

[wayne]

This essay from View of Brooklyn Bridge (A HK flm site) deconstructs the influence of Lady Snowblood on Kill Bill Vol.1. before it rambles off-topic.

[Filmbrain]

Thanks for linking to that -- he raises some interesting points.

[Shikaku]

Hi from Tokyo! I'd like to say " It's bingo!" Soon, very nice event on 21st August in Tokyo, theater Shin-Bungeiza is going to hold all night screenings with 4 features -Kill Bill 1&2 and Lady Snowblood 1&2. As this all films are widescreen, we should enjoy on screen.
Also in Japan, it's wellknown that Quentin loves Japanese cinema including Meiko KAJI's film. He often mentioned and many Japanese critics pointed. Kill Bill had been released in Japan already, and very successful. Interestingly, ordinary audience, who are Hollywood oriented and indifference to Japanese films, also welcomed as blockbuster entertainment. And then, Meiko KAJI and "Lone Wolf and Cub" e.t.c Japanese 70's B-movies has been reevaluated now.
Well, let me give a supplementary explanation.
Lady Snowblood(1973) & Lady Snowblood 2: Love Song of Vengeance (1974) were distributed by Toho. Actuary these 2 films were produced by Tokyo Eiga which were an associated company of Toho. These 2 films starring Meiko KAJI, were directed by Toshiya FUJITA. FUJITA had worked for Nikkatsu untill 1979. Also KAJI had worked for Nikkatsu from 1969 to 1971, including 3 films directed by FUJITA. She moved to Toei in 1972 and had appeared "Joshu Sasori" series and more. And then, in 1973-1974, they worked for Tokyo Eiga as temporary transferre by contract.
So I think that Lady Snowblood is a fine example of the type of films Toei (not Toho) Studios was producing in the early 70's. Also there were another amazing actress in Toei studio, Junko FUJI maybe the origin of Oren ISHII played by Lusy LIU. Actually, Junko FUJI retired in 1972 because of her marriage, Meiko KAJI has replaced a post of the Queen.
And at the same time, it may say that the film came from of so-called Nikkatsu new action school. Nikkatsu studios was producing action movies from late 60's to early 70's, directed by Toshiya FUJITA and Yasuharu HASEBE e.t.c. . From late 60's to early 70's, for Nikkatsu, it was after the era of stars including Yujiro ISHIHARA, Akira KOBAYASHI , also before the era of Nikkatsu Roman Porno.
Moreover, we should notice Kazuo KOIKE who is an author of comics and also writer of these films. In fact, Lady Snowblood and Lone Wolf and Cub(Kozure Okami) series were based on his comics. You can buy his comics translated English version though Barnes and noble.com e.t.c.

[Marleigh]

Random tangent about soundtracks: the boyfriend and I spent most of Sunday playing Red Dead Revolver which, if you like westerns (particularly of the spaghetti variety), is amazing.

Moreover, it has probably the best soundtrack of any video game I've ever encountered. While you're playing, you'd swear you were in Once Upon a Time in the West.

[Filmbrain]

Shikaku -- thanks for the clarification. Great bit of information about Nikkatsu.

[Jordan]

Ah, I'll have to disagree with you when you say "Lady Snowblood" isn't a great film.
Actually, you made many points in your post as to just why it is a great film. So I'm surprised to hear that you feel it isn't.

[Bankie]

I am from the future.

I have come all the way back to 2004 to say that in 2010 it will be revealed that many of America's "brightest" filmmakers have raped previously underrated or obscure foreign cinema.

I'm not mad at them, either. If I were an ingenious American cinema giant, I'd have made a CAREER of molesting Japanese and French films found in bargain bins across the world, myself. Hell, I can think of some German joints I'd lay heavily into, as well, but I won't take us there.

Bernie Madoff is ripping you off right now and in 2009 we'll elect an African-American president. P.S.: Ford will mysteriously, in the face of a depression, begin manufacturing cars as though they had always known how.