Lady Snowblood - Review

Bad ass.

More than just “the reason “Kill Bill” ever happened”, “Lady Snowblood” is an inventive, artful, and ridiculously entertaining work. Based on my limited experience with Japanese grindhouse from the early ‘70s, this is the best of the bunch, even surpassing the likes of the ludicrous “Lone Wolf and Cub” series.

Most apparent is the films entertainment factor. While hyping up a group of teenagers for “Rashomon” would be like squeezing toothpaste back into the tube, “Snowblood” has the goods to hold a casual moviegoer’s interest throughout, at least in a semi-ironic way. The sheer amount of blood and violence the filmmakers managed to stuff into this feature might have provided a bit of a shock bordering on outrage back in ’73, but in 2017 the campy fountains of thick, orange blood that spirt from each of Snowblood’s victims are only a part of the film’s bizarre aesthetic. I feel a certain degree of reverence for “classic movies” bleeding (hehe) into public opinion of this film. It’s some of the old “yeah it’s unrealistic, maybe you could call it bad, but we wouldn’t have it any other way”.

After all, no one can deny that “Lady Snowblood” has done its heavy lifting to get to a point where it can justify the camp. The protagonist is not just well motivated, but further layered through an internal assassin-with-a-heart conflict that truly heightens our heroin well beyond the intrigue of the stone-faced, cold-hearted persona Wakayama maintains throughout the “Lone Wolf and Cub” series. In Snowblood’s episodic quest for vengeance, the character’s complexity, and the otherwise technical brilliance of the film (we’ll get to that) elevates silly scuffles with comic-book-type villains into engaging conflicts a viewer can unapologetically enjoy. Throughout, there’s a sense that the film didn’t need to be this ridiculous, by that I mean its tone is a clearly deliberate choice. The general quality suggests the ability to make this movie whatever the filmmakers wanted it to be, and I’m on board for a well-executed anything really. The people behind “Lady Snowblood” set out to make something I imagine is very near the end result, and there’s something to admire in that. 

As for the visuals and overall aesthetic, I’m a fan. Any admirer of Tarantino’s “Kill Bill” films is sure to appreciate this style (I mention this as a point of reference, "Volume 1" currently has almost 100 times the amount of ratings on IMDb as “Lady Snowblood”). While I can’t do anything for anyone who simply doesn’t jive with the zoom-ins, the music and the cheesy blood effects, I maintain that “Lady Snowblood” at least offers a very distinct yet consistent style indicative of a director’s confidence and control of the project. Tarantino had the benefit of a steadycam and funds to make “Snowblood” ten times over, but the earlier film is a better example of style, perhaps beating out “Kill Bill” on the merit of merely being the first film and therefore less derivative (although the crazy 88 fight is still fantastic).

With each stroke of the blade, director Toshiya Fujita is painting a tragically beautiful work. The violence of “Snowblood” is portrayed with a strange degree of grace. Yes, our heroine ends most scenes caked in blood, but throughout she is remarkably composed, and the technical skill level of the film allows the portrayal of fluidity, expertise, and a greater organic sense to each fight sequence. Snowblood is a detailed enough character, but she’s allowed to go full badass ninja assassin when the scene calls for it.

I kind of loved this movie, and remarkably I’m not ashamed to say so. I look forward to returning to this film and its sequel soon.

Verdict - Essential