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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. Yuki never knows the love of a family but only killing and revenge.
Quentin Tarantino is the greatest thief working on cinema today, it's widely known that his films steal a little from past movies, especially from films that not many people have heard of, films like Lady Snowblood. I knew that this was going to be something like Kill Bill, but I did not imagine they would be so similar. They are similar not only in terms of story and concept - a samurai woman who seeks revenge - but also in terms of production style. From its filming techniques - fast zoom on characters - to the visual style and to the amount of blood that we are offered and to its music score, Lady Snowblood and Kill Bill are twins.…
Yuki, born and raised to inflict vengeance on the assholes that butchered her family. Prison childbirth. Umbrella ownage. Wearing white will get you killed. Throwing shit over a cliff. A traveling gambler. Crazy games with a knife. Draft riots. Swindlers. A sea of blood. A three yen hooker. Police brutality. A bamboo beat down. A cool as hell reporter. Blood splatter. Slicing a bitch in half. A masquerade party of death. Final vengeance is best served cold in the snow. While there is no Bill to kill, Lady Snowblood is an obvious influence for Richard Gecko's tale of Beatrix Kiddo.
i think it can be said with some degree of certainty that this film contains the single greatest sword slice in cinematic history (you know the one... with the hanging body... i giggled like Harry Knowles, and then i moved to a monastery in order to repent for 7 years, and now i'm back with a vengeance).
it's a shame how the grindhouse product churned through '60s and '70s Japan displayed a far greater degree of thought / concern for artistry than many of the AAA studio titles made in the US (and Japan, for that matter) today. have snap-zooms ever felt so violent? for how many weeks was Quentin Tarantino catatonic after first seeing this thing? if you cut Meiko Kaji, does she bleed soupy orange blood? i suspect that anyone who knows the answer to that question is now in deepest hell.
It's not fast-paced and "hip" like a Quentin Tarantino movie because it's not a Quentin Tarantino movie. Cripes, is that really how people need to contextualize every pulpy foreign film? Anyway, this is a masterpiece of gaudy, operatic trash.
Quentin Tarantino is no doubt one of the most popular directors in the world, noted for his abrasive yet entertaining films that have all in their own right became cult classics. From the early days of Reservoir Dogs and Pulp Fiction to Inglorious Basterds and Django Unchained, he has established himself as a director familiar with audiences all over the world. I’m a big fan myself --Jackie Brown being my favourite work from the man-- but I’ve never understood people’s claims of him being the unique and provocative filmmaker with this intense and nurtured creative streak in him. For me it’s no secret that his films play on, and are inspired, by past successes.
Lady Snowblood is the most definitive…
Watched this this morning and then somehow forgot I hadn't reviewed it. A very stylish film, bloody as hell, not super sexual, and it has the decency to curb its bloodlust vengeance plot with tragedy, but ultimately, it's just a solid exploitation flick.
Stunning and frenetic. A beautiful piece of art cinema that is not afraid to be a genre film.
"Lady Snowblood" ist ein mitreißender Rachefilm. Toshiya Fujita verziert die Geschichte mit dutzenden abgetrennten Gliedmaßen und Blutfontänen, von denen sich selbst die erfahrensten Splatter-Regisseure eine Scheibe abschneiden können. Der Film verwendet grelle Farben und starke Kontraste, die er mit wirklich tiefschwarzen Schatten kombiniert, die selbst helle Tageslichtszenen bedrohlich wirken lassen. Quentin Tarantino zollt diesem Film mit "Kill Bill" seinen Tribut. Man könnte es auch stehlen nennen, denn einige Szenen und auch die Art des Gemetzels sind beinahe eins zu eins übernommen. Doch um Quentin Tarantino in Schutz zu nehmen: Es gibt wenig bessere Film von denen er hätte stehlen können.
This movie kicks the teeth out of most of its chanbara contemporaries. Lady Snowblood is shockingly unique, even some 43 years later. It's a testament to how great it is that everything from the jumpy narrative to the virtuoso filming style and the great swordplay is iconic and still feels fresh. Meiko Kaji is one of cinemas ultimate badasses and this movie is a library of good ideas that other productions have liberally stolen, and continue to steal from. It might not be as technically impressive as some of the standout Zatoichi movies but it adds so many creative elements to the genre that it hardly bothers me. The cherry on top of all that is that the Criterion release of the Lady Snowblood films looks absolutely amazing. Their restoration adds a ton of life to the movie.
Mindblowing and surprisingly deep for an exploitation picture. Left me wanting more (or at least to watch it all over again).
Seeing the very influence that Lady Snowblood has left upon Quentin Tarantino through Kill Bill is perhaps one of the most interesting factors of the film. And while it lasts, it most certainly is a rather entertaining ride, much to be expected from this sort of film. While I'm not convinced it's the cult masterpiece it has been acclaimed to be, I most certainly wouldn't mind paying another visit to Lady Snowblood, at least, for the rather fun experience I had while I was sitting through it.
Meiko Kaji stars as the titular character, and she's admittedly a rather alluring presence to watch while she still takes up the screen. She is the best thing offered by Lady Snowblood as…
Absolutely love the outrageous spurts and spatters. Poor Quintin :(
LADY SNOWBLOOD, serving as the blueprint to the KILL BILL series, Tarantino borrows quite a bit from this blood-gushing, revenge plot from 70s Japanese cinema.
Did I have a stroke or did this at one point turn into like a Victorian English ball? Like, isn't this Japan? Were they really into Victorian balls in the 19th century?
Great movie though, even if it's gonna ruin Kill Bill a bit for me
great blood splurts
UPDATED: January 28, 2016
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