The late Meiji Era was a good time to be a bourgeoisie Zaibatsu, unless you happened to provoke Yuki Kashima, a.k.a. Lady Snowblood. Kashima consummated her vengeance in the first film, but she is still out there (despite the serious injuries she sustained in the previous climax). Instead of killing to fulfill her blood pact for payback, she now dispatches running dog flunkies of the corrupt ruling class that rub her the wrong way. That is all fine and good, but is nowhere near as satisfying. Even with a moderate case of sequelitis, the title character remains iconically awesome in Toshiya Fujita’s Lady Snowblood: Love Song of Vengeance (trailer here), which screens as part of the Japan Society’s weekend retrospective, Cruel Beauty: A Romantic Weekend with Meiko Kaji.
The four thugs who killed Kashima’s father and brutalized her mother are now
deader than dead, but that does not mean the cops are willing to let things
slide. After enduring the spectacular opening beatdown, they finally capture
Lady Snowblood and quickly convict her in a kangaroo court. However, the
foppish civil servant Seishiro Kikui offers her a reprieve from the gallows if
she will assassinate anarchist rabble-rouser Ransui Tokunaga. Kashima agrees
because what does she have to lose, but double crosses Kikui as soon as she
takes Tokunaga’s measure.
Briefly, Lady Snowblood takes on the role of bodyguard, but she is a much
better assassin. When Kikui launches a full-scale attack, Kashima barely
escapes with her life and Tokunaga’s incriminating documents. Fortunately,
Tokunaga’s estranged brother Shusuke practices medicine in one of the slum’s
no-go zones. Shusuke Tokunaga’s animosity for his brother and
sister-in-law-ex-wife remains unabated, but he isn’t about to turn away Lady
Snowblood, because obviously.
The biggest problem with Love Song
of Vengeance is Kashima’s less proactive role. It is not that she is
passive, but she is reactive, deciding who to align with and then killing off
the other side accordingly. It is still beautiful to watch her do her thing,
but it doesn’t resonate in your gut like the original film. Also, the depiction
of the corrupt, war-mongering Meiji government as a stand-in for Vietnam-era
capitalism now looks like a clumsy relic of the past.
On the other hand, Fujita stages two of the franchise’s best action sequences,
both featuring Lady Snowblood (naturally) hacking and slashing her way through
crooked coppers as she walks down narrow pathways towards the camera. The blood
still flows a bright crimson red, liberally pooling as the result of Kashima’s
handiwork. Kikui is also a suitably odious villain, who even weaponizes the
plague virus in his scheme to bring down the Tokunagas and Kashima.
The camera still loves Meiko Kaji’s Lady Snowblood, whose action chops are
arguably even stronger the second time around. As Kikui, the preening Shin
Kishida absolutely gorges on the scenery. Jûzô Itami (now better known for
directing crossover hits like Tampopo)
also plays Ransui Tokunaga with all proper dignity and even a little edge.
However, the blustery Shusuke Tokunaga inexplicably lurches all over the map to
serve the whims of the narrative.
There is plenty of betrayal and blood splatter in Love Song, but the grafted-on social conscience is awkwardly
superfluous. Needless to say, the sequel works best when Fujita allows Lady
Snowblood to be Lady Snowblood. The original Lady Snowblood is an exploitation masterwork every cineaste
should catch up with. Lady
Snowblood: Love Song of Vengeance is a pleasing diversion, especially
as part of an apt mini-binge for Valentine’s Day when it screens this Saturday
(2/11) at the Japan Society during their Meiko Kaji tribute.