Lady Snowblood: Uma Canção de Amor e Vingança

The stunning Meiko Kaji reprises her role as Shurayuki-hime (roughly translated "Princess Snow-Hell"), the beautiful agent of death. This time she is not out for personal vengeance, but is caught up in the political intrigue of the Meiji era of 19th century Japan. Caught between revolutionaries and secret policemen, Yuki makes sure the bad guys meet a particularly nasty end. It's great to see a samurai film featuring a female in the lead role. It was co-written by Kazuo Koike of "Lone Wolf and Cub" fame and features a role by Juzo Itami who later went on to direct "Tampopo" and "A Taxing Woman" among other films. Director Toshiya Fujita has a wonderful sense of color and this movie is a vibrant and violent 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

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.

The first film had a solid story, good acting, and some nice stylistic flourishes. This film has a rambling story that doesn't carry any of the emotional weight of the first one. Kaji Meiko was spell binding in the original, but here she isn't given much to do. The sword fighting scenes are far less bloody than the original which is a good or bad thing depending on your taste. To me it's bad. The straight choreography of both films was lacking compared to Hong Kong films and some of the better Samurai films, but the exaggerated gruesomeness of the original's scenes gave it a kick. Here it seems as though they were trying to shoot the scenes as quickly as possible (lots of long takes). The second film didn't have the humor either. Just stick with the first one.

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.