Lady Snowblood: Uma Canção de Amor e Vingança

Lady Snowblood 2: Love Song of Vengeance was quite different from the first Lady Snowblood. That one concentrated on the story of her revenge for deeds against her mother 20 years in the past. This one uses the framework of the clash between the rising authoritarian nationalist movement under the first Meiji emperor and the rising class of urban poor led by intellectual nihilists. It's pretty funny seeing kids skipping down the city streets singing songs about Japan being victorious over Russia in the 1905 war. Our Lady is swept along by these events rather than controlling them. After being sentenced to death for her deeds in the first film, she is "rescued" on the way to the gallows by the emperor's secret police and recruited to infiltrate the nihilists who have documents that could bring down the government. Lady Snowblood switches sides and we progress through torture, bubonic plague as a weapon of mass destruction, and class warfare. The film is carried more by the characters around Snowblood than by her, especially the two anti-government brothers that Snowblood befriends, as well as the police chief, who can't get a break in this movie. He's the bad guy but reminds me of Inspector Clouseau, whether falling off his horse or getting his eye poked out. However, she does what she needs to do and provides the action we expect. Altogether, I enjoyed this one better than the first. 7 of 10.

Version: Eastern Eye's R4 DVD release. Japanese / English subtitles.

I thought the ending of 'Lady Snowblood' was rather definite. It didn't exactly set itself up for a sequel, but, here we are. Sequel time - 'Lady Snowblood: Love Song of Vengeance'. I must admit, it is a cool title.

After avenging her mother in 'Lady Snowblood', Yuki (Meiko Kaji) is arrested by the new Japanese police. Sentenced to death, Yuki is granted a reprieve by Kikui (Shin Kishida), an agent of the secret police. Kikui will let Yuki live if she spies on Ransui Tokunaga (Juzo Itami), an active socialist. Yuki accepts Kikui's offer, but making that offer may not have been the smartest thing Kikui ever did...

The first thing you may notice about 'Lady Snowblood 2' is that there is a lack of vengeance. It seems to have been substituted for politics. Naturally, there is some vengeance, and the requisite amount of Yuki killing people, but 'Lady Snowblood 2' seems to grounded in the political and social climate of Japan in the early 1900s. I've studied a bit of Japanese history from this period at university, so the tie-in managed to maintain my interest. However, characters make references to the Hibiya Riots and the Russo-Japanese war, events that happened in 1905. This is supposedly set right after 'Lady Snowblood', which I believe was set in the 23rd Year of Meiji. By my reckoning, that would make 'Lady Snowblood' set around 1891. I think I've missed something, or gotten the Meiji years wrong. If someone doesn't correct me, I'm going to assume time-travel was involved. Time-travel? Cool!

Meiko Kaji turns into something of an acting robot in this outing. Yuki seems devoid of any emotion, and while that was a theme in the first, it was established that she was capable of human feeling. However, she still makes a good assassin. Although we have more politics and less action, the action we do get is still pretty good, if dated.

'Lady Snowblood 2' stands in the shadow of its prequel. The first movie outshines this movie in every way, but the second is still entertaining. Worth a look for fans of the first - 7/10

Well-made, but unpleasant sequel to one of the greatest cult Japanese films of the 70's, "Lady Snowblood II: Love Song of Vengeance." This installment focuses less on classic blood spray sword fight scenes and more on the corrupt politics of the time. Fascinating history lesson, but of course the more serious subject matter does mean less fun. The film itself looks beautiful, with extravagant sets and costumes, and an excellent music score, and Meiko Kaji gets to show a more human side of her persona here. One thing that must be mentioned is that the violence factor in this sequel is more extreme; although there is less of the theatrical arterial blood sprays here, we get instead some thoroughly unpleasant and grisly scenes of human torture, including stabbings, burnings, eye gougings, savage beatings, as well as one man being injected with plague, which causes his skin to break out in nasty sores. A few scenes are kind of sickening, and i wasn't really expecting such serious subject matter. The film does tend to drag a bit in the middle segment, but comes back strong for the final third, when Yuki gets her revenge on the corrupt officials who have looted and burned an entire village for their own financial gain. Peopled with some truly slimy villains, and a heroic finale, this is a worthy sequel to a classic.

Toshiya Fujita's "Shura-yuki-hime: Urami Renga" aka. "Lady Snowblood 2: Love Song Of Vengeance" of 1974 is a quite different, but more than decent sequel to Fujita's blood-soaked and beautiful 1973 gem "Shurayukihime" (aka. "Lady Snowblood"). While the film does not nearly reach the greatness of its superb predecessor, "Love Song Of Vengeance" is yet another original and highly entertaining film that no lover of Japanese Cinema in general, and Chambara and Japanese Exploitation in particular should consider missing. The film sadly cannot compete with its predecessor's unique style and beauty, but it is still stylish, and furthermore delivers a good story, and, most memorably, the wonderful Meiko Kaji, who comes back with greatness as the eponymous (anti-)heroine.

As it was the case with several other sequels to popular Japanese 70s exploitation flicks, the sequel adds some political/social commentary to the mainly vengeance-based plot of its predecessor. Obviously, the film is set several years after the events in the original "Lady Snowblood". Yuki/Lady Snowblood (Meiko Kaji) is captured, and sentenced to death for the thirty-seven killings committed by her in the predecessor. She is then offered to carry out an assassination in order to escape her execution... I don't want to give away more, but I can assure that the plot gets quite interesting for my fellow Chambara-fanatics. Japanese Exploitation-Goddess Meiko Kaji (one of my personal favorite actresses ever) is once again stunningly beautiful and brilliant in her role. My personal favorite Kaji role will always be that of female prison escapee Nami Matsushima in the brilliant "Joshuu Sasori" (aka. "Female Prisoner Scorpion") films, but the role of Lady Snowblood is also essential, and no lover of Cult-cinema could afford to miss her in the role (especially in the original, but also in the sequel). Meiko's presence alone would make any film worthwhile, in my opinion, and the film has a lot more to offer. The film's is, once again, filled with quite a bit of stylish bloodshed, which is not quite as aesthetic, but at some points even bloodier than in the predecessor. Unfortunately, the score in this one is not as memorable as that in the original (for which Meiko Kaji sang the theme song), and yet it is more than decent. Nowadays, the "Lady Snowblood" films are probably best known for being the main inspiration for Quentin Tarantino's "Kill Bill" films, but they sure deserve more attention for their own sake. The first film, "Lady Snowblood", is brilliant, and while "Love Song Of Vengeance" is not the masterpiece its predecessor was, it is still a highly entertaining, stylish and memorable film that I highly recommend to every lover of Chambara and Cult Cinema. My rating: 7.5/10

At the end of the first Lady Snowblood film, it sure didn't look like there could be a sequel. First, all the bad guys who needed killing were dead and her need for revenge was complete. Second, she sure looked like she was dead or soon would be. Yet here we have Ykui showing up yet again. This time, however, instead of just killing off a few evil vermin, she's apparently been quite busy--with something like 37 killings to her credit. However, when you see her fighting at the beginning of this film you wonder how she could have done this, as the choreography and her skills were not especially impressive. The illusion of her great power was better in the first film--here the sword play looks a bit rough at times--but it's still worth seeing.

This film finds her a wanted woman throughout Japan--and oddly the film is set about a decade or more ahead of the last film, though she looks exactly the same. Tired of fighting, she eventually allows herself to be arrested. She's soon convicted of murder and sent to execution. However, on the way, she's rescued by some unscrupulous officials who want her to do their bidding in exchange for her release. It seems they want her to bring them a certain important document and then kill the man who is hiding it. However, when she hears the intended victim's story, she realizes that the government officials are much like the scum she killed in the last film and she refuses to act. What's next? Will they kill the man, get the document or get Lady Snowblood to work for them or kill her? Tune in and see.

Like the first film, this one has a lot of blood--though not the squirting and spurting geyser-like variety this time (at least not until the very end). Unlike the first one, this one also has some nudity. However, whether either has nudity or not isn't that important in regard to whether or not you let the kids see them--the violence, to me, is much more of a deciding factor.

As for an older audience, the film is worth seeing--just don't expect it to be nearly as original or interesting as the first film. This one just isn't as good in every single way--though for fans of Japanese films, it's still worth seeing. Very adequate.

By the way, in one scene, Yuki throws a knife up into the ceiling--impaling a man's hand in the process. Yet, despite this, moments later you see a close up of the bloody hand and there clearly is no hole or wound of any kind. Now I am NOT suggesting they should have mutilated the guy in order to provide better continuity---just not shown a close up of the hand itself.