Comica Obscura Marathon: Rebuttal: Shurayukihime (Lady Snowblood, 1973)

Yet another marathon comes to an end!

The drill remains the same, go and read what Edgar said at Between The Seats so my response makes a peck of sense!

Getting right down to the brass tacks of the rebuttal, I didn’t share your problem with the exploration of Yuki’s back story. I do agree that interrupting the flow of the ongoing narrative to deliver back story can be troublesome. In the case of Shurayukihime I did not find the excursion to further flesh out Yuki’s back story troublesome. In fact Yuki’s back story was essential not just as her reason for revenge but to further the theme of female empowerment that runs through the picture. We don’t spend too much time on the detour of Yuki’s back story, but the time we do spend with her in the past is time well spent.

On your second point, the narration, I both agree and disagree. I agree that the film does go overboard with the narration and that it often isn’t needed. I am not a fan of narration that tells the story instead of allowing the characters to tell the story. Shurayukihime has a story just fine without all of the narration, but sadly the narration is used often and ends up being one of the faults that I hinted at in my review. However where I will disagree with you is in the work of Meiko Kaji as Yuki. Where you saw coldness I saw a wall of reserve with flashes of femininity and humanity. The reason the narration bugged me as much as it did, although not enough to stop Shurayukihime from being an awesome movie, was because I felt Kaji-chan conveyed great emotion throughout the film. I was able to read so much into the film, in terms of womanhood and femininity, because of the emotion Kaji-chan conveyed through her eyes or a slight change in her facial expression.

Your final two paragraphs are much in line with my own thoughts. Shurayukihime is full of interesting twists and character developments. The emotion you speak of in this section isn’t just found in the script though, it sprang for me from the driving force of the movie, Yuki. If the film was not about a woman seeking revenge while maintaining her femininity I don’t think there would have been as much emotion found in the script. However, generally we are in agreement about the strength of the script and the freshness of the overall revenge tale found in Shurayukihime.

Well, pard, that does it for another joint marathon. Usually I waste this final paragraph with bad jokes about us dueling and one of us somehow winning the rebuttals. Not this time, instead I shall simply thank you for taking part in this marathon with me. Edgar, like always it has been a joy to banter with you about these films and to discover new cinema and new ideas about already traversed cinema along the way. I eagerly look forward to our next joint marathon, after a short break to breathe of course. I’m especially interested in what our next joint marathon will be as it is your choice this time around. Either way, it’s been a slice, as the kids from some forgotten era say, until next time, cheers, amigo!

Go and check out Edgar’s far less friendly rebuttal at Between The Seats.


2 responses to “Comica Obscura Marathon: Rebuttal: Shurayukihime (Lady Snowblood, 1973)

  1. Oh, yeah, I really let you have it in my rebuttal. Not malice intended (I’m sure you know that), but I was perplexed by you arguements about the femininity.

    Thanks for the marathon. Time for a break. I haven’t put any thought into what the next one might be about.

  2. Well, I think I expressed, in my usual level of coherence, why the femininity worked wonderfully for me. It didn’t make much of an impact on you, but that’s cool.

    Whenever the idea for the next marathon strikes you just let me know. ūüôā

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