| Cast overview, first billed only: | |||
| Meiko Kaji | ... | ||
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Toshio Kurosawa | ... | |
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Masaaki Daimon | ... |
Gô Kashima
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Miyoko Akaza | ... |
Sayo Kashima
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Shinichi Uchida | ... |
Shirô Kashima
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Takeo Chii | ... |
Tokuichi Shôkei
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Noboru Nakaya | ... |
Banzô Takemura
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Yoshiko Nakada | ... |
Kobue Takemura
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| Akemi Negishi | ... |
Tajire no Okiku
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Kaoru Kusuda | ... |
Otora Mikazuki
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Sanae Nakahara | ... |
Kitahama, Okono
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Hôsei Komatsu | ... |
Genzô Shibayama
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Makoto Matsuzaki | ... |
Daikashi
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Hiroshi Hasegawa | ... |
Daihachi Kachime
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Takehiko Ono | ... |
(as Susumu Kuroki)
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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. Written by Fred Cabral <[email protected]>
LADY SNOWBLOOD is widely known as one of the main inspirations behind Tarantino's KILL BILL, featuring the same plot (a woman tracks down the members of a gang, one by one, for the purpose of revenge) and stylistic flourishes (not least the separation into chapters). It's another manga adaptation along the same lines as the LONE WOLF & CUB saga, and while it may not be quite as exhilarating as those films, it comes close at times.
The story is mannered and carefully paced, so those looking for an action-packed thrill-ride along the lines of modern cinema might be disappointed. It's fairly slow but never less than beautiful, with precise attention paid to costumes and scenery, which makes for a wonderfully cinematic experience. As expected, there are also the requisite fight scenes containing the usual blood-spurting mayhem that Japanese samurai cinema is known for.
Okay, so the story is slight, but many scenes resonate with real power, and my favourite bit sees Snowblood cornering one victim on the beach while he pleads for his life. Meiko Kaji's turn as the resourceful, determined heroine is powerful indeed, and it's just a shame that some sub-plots, such as the inclusion of an investigative journalist who teams up with the protagonist, don't really add up to much. In addition, the action scenes, while good, lack the kind of visceral power and innovative style that made LONE WOLF & CUB so great. My overall conclusion is that LADY SNOWBLOOD is entertaining enough in itself but no classic.