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德川幕府倒台，日本进入开明的民主时代。但是明治时期政府、军队及至商贾仍存在腐败贪婪的现象。明治八年爆发血税暴乱，小学教师鹿岛刚（大門正明 饰）携家眷旅行途中遭到暴乱农民的袭击，鹿岛和儿子司郎（内田慎一 饰）惨遭杀害，他的妻子小夜（赤座美代子 饰）则被暴民侵犯。在此之后，小夜瞅准时机杀死一名暴徒，入狱后她与狱警、官员私通，千方百计产下一女，取名雪姬，并将为家族复仇的使命交给女儿。狱友同情小夜的遭遇，想尽办法将雪姬托付给武功高强的僧人大臣道海（西村晃 饰）修行。20年后，背负着莫大仇恨的修罗雪姬（梶芽衣子 饰）携着血雨腥风来至人间…… 本片根据小池一夫（漫画脚本）和上村一夫（作画）的漫画原著改编，主题歌后被昆汀·塔伦蒂诺用到《杀死比尔》中。
长篇影评
1 ) 走上歧途的明治维新
从小时候读书开始，明治维新就是一个成功的神话，富国强兵的典范，短短几十年，就将日本从弱国提升成了列强，是中国效法的对象……
然而，随着知识的增加，才发现不是那么一回事。其实，黑船事件后，锐意革新的是幕府，支持者的口号是“开国佐幕”；如今称为维新志士的口号却是“尊王攘夷”，理想是王政复古，把外国人都赶走，回到闭关锁国的时代。
再看支持维新的萨摩（岛津）、长州（毛利）、土佐（长宗我部的余孽），都是当年关原合战的西军，本来就是德川幕府的敌人，一有机会自然兴风作浪。
只是历史往往比故事更离奇，战败的长州藩被逼采用西式的军队，最终用当初反对的方式打败了幕府，权力也被一些藩士借着天皇的虎皮篡夺，为了巩固自己的权力和利益，把日本推上了军国主义的道路，给全世界造成了巨大的灾难。
然而，即便做为日本侵略的最大受害者，中国对明治维新却一向是推崇备至，这部电影却控诉了明治维新背后的黑暗，用一部血浆片的外表，包裹着的却是非常深沉的历史反思。
现在的日本人还能拍出这种深刻反思的电影了吗？70年代还是日本的黄金年代，除了经济发展外，文化上也更有创意、勇气和良知，现在经济不行了，文化上也倒退了，伪军国主义的民粹又沉渣泛起，果然一个国家的衰退都是全面性的。
2 ) Lady Snowblood (1973) Movie Review By James Mudge
Lady Snowblood (1973) Movie Review
By James Mudge on September 7, 2004 | Asian Movie Reviews, Japanese Movie Reviews, Reviews
“Lady Snowblood” was, until the recent “Kill Bill” by Tarantino, a relatively obscure 1973 female samurai revenge film. However, since the inclusion of the songs “Flower of Carnage” and “Urami-Bushi” (both sung by lead actress Meiko Kaji) on the soundtracks to both of Tarantino’s films, and his citing of it as one of his main influences, both the classic original and the slightly inferior sequel (“Lady Snowblood: Love Song of Vengeance”) have earned new releases and retrospectives.
Fans of modern Japanese cinema will be quite used to seeing sword-slinging female killers in films such as “Azumi” and “The Princess Blade”, though “Lady Snowblood” as both a film and a character is still very much the standard by which all others must be measured. Beautifully directed, action packed and very violent, it contains more memorable scenes and characters than most of its imitators put together. Hopefully, the success of “Kill Bill” will inspire viewers not only to watch “Lady Snowblood”, but to appreciate it not simply as a curio piece, but as an excellent, and indeed superior, film in its own right.
The plot, set during a historical period of political unrest in Japan, is revenge, pure and simple. After her husband is murdered, a woman is accused of being a spy and thrown into jail. Consumed by rage, she sleeps with every man she can, with the bloody-minded aim of producing a child who will enact her revenge. Dying in childbirth, the woman gives life to Yuki Kashima (Meiko Kaji), who becomes Lady Snowblood, the living embodiment of vengeance. Twenty years later, having dedicated her life to deadly martial arts training, Yuki sets forth on her quest, swearing that she will not rest until she has slaughtered the villains who wronged her mother.
Apart from the use of the theme song, the influence of “Lady Snowblood” on Tarantino’s revenge films is blatantly obvious, with similar training sequences, set pieces and even a voiceover-heavy narrative that is divided into chapters. This is fair enough. I have nothing at all against Tarantino or his films, and this is the only mention I’ll make on the subject of homage, inspiration, rip offs, or whatever.
Lady Snowblood herself is a fascinating character. Although purportedly an instrument of death and violence, the film gives her a welcome injection of personality and emotion, both of which serves to make her bloody quest more interesting. Though her background is tragic and traumatic, the film makes clear that it’s her dead mother’s revenge she is carrying out, and not her own, allowing for moments of self-doubt and uncertainty. Similarly, although she is a highly skilled killer, she is far from invincible, and this allows the viewer to sympathize with her, if not identify. It helps that Meiko Kaji is excellent, making the role her own with an intense performance that at times conveys a tangible sense of barely contained violence through the smallest of actions.
“Lady Snowblood” benefits from its historical setting and the attention paid to the political nuances of the time period. The film has a voiceover by a journalist named Ashio (Toshio Kurosawa, from the classic “Water Margin”), who is investigating Yuki, and he provides plenty of social commentary on the great changes that swept the country at the time. As well as giving the film an interesting and realistic grounding, this allows for a few moments of sly humor that lighten the mood somewhat. Since the film has a fairly slow pace between the fight scenes, this is very welcome and keeps things moving along nicely.
The direction by Toshiya Fujita (relatively unknown in the West apart from the “Lady Snowblood” films) is excellent and at times beautiful. The film boasts a rich color scheme, predominantly using deep red and cold white, usually in the form of the film’s common motifs of blood and snow. The cinematography is gorgeous, and although the film does at times look low budget, it provides an evocative and atmospheric look at ancient Japan.
The action scenes are excellent and well shot, relying on short bursts of swordplay rather than extended martial arts battles. The action is tense and exciting, and usually drenched in geysers of spraying red. “Lady Snowblood” is a very violent film, and there is a great deal of hacking, slashing and dismemberment, which is bound to please fans of the genre.
“Lady Snowblood” is a classic, and deserves to be recognized far beyond its value as an inspiration to the films of Tarantino. It offers fans of martial arts and samurai films plenty of action, a beautiful, tragic heroine, and a gripping tale of revenge, all set against a fascinating historical backdrop. Though I’m sure we will see countless more ‘female samurai’ films, I’m equally sure that “Lady Snowblood” will stand the test of time far better than any of them.
Toshiya Fujita (director) / Kazuo Uemura, Kazuo Koike (screenplay)
CAST: Meiko Kaji …. Yuki Kashima
Toshio Kurosawa …. Ryuurei Ashio
Miyoko Akaza …. Sayo Kashima
Masaaki Daimon …. Gou Kashima
By James Mudge on September 7, 2004 | Asian Movie Reviews, Japanese Movie Reviews, Reviews
“Lady Snowblood” was, until the recent “Kill Bill” by Tarantino, a relatively obscure 1973 female samurai revenge film. However, since the inclusion of the songs “Flower of Carnage” and “Urami-Bushi” (both sung by lead actress Meiko Kaji) on the soundtracks to both of Tarantino’s films, and his citing of it as one of his main influences, both the classic original and the slightly inferior sequel (“Lady Snowblood: Love Song of Vengeance”) have earned new releases and retrospectives.
Fans of modern Japanese cinema will be quite used to seeing sword-slinging female killers in films such as “Azumi” and “The Princess Blade”, though “Lady Snowblood” as both a film and a character is still very much the standard by which all others must be measured. Beautifully directed, action packed and very violent, it contains more memorable scenes and characters than most of its imitators put together. Hopefully, the success of “Kill Bill” will inspire viewers not only to watch “Lady Snowblood”, but to appreciate it not simply as a curio piece, but as an excellent, and indeed superior, film in its own right.
The plot, set during a historical period of political unrest in Japan, is revenge, pure and simple. After her husband is murdered, a woman is accused of being a spy and thrown into jail. Consumed by rage, she sleeps with every man she can, with the bloody-minded aim of producing a child who will enact her revenge. Dying in childbirth, the woman gives life to Yuki Kashima (Meiko Kaji), who becomes Lady Snowblood, the living embodiment of vengeance. Twenty years later, having dedicated her life to deadly martial arts training, Yuki sets forth on her quest, swearing that she will not rest until she has slaughtered the villains who wronged her mother.
Apart from the use of the theme song, the influence of “Lady Snowblood” on Tarantino’s revenge films is blatantly obvious, with similar training sequences, set pieces and even a voiceover-heavy narrative that is divided into chapters. This is fair enough. I have nothing at all against Tarantino or his films, and this is the only mention I’ll make on the subject of homage, inspiration, rip offs, or whatever.
Lady Snowblood herself is a fascinating character. Although purportedly an instrument of death and violence, the film gives her a welcome injection of personality and emotion, both of which serves to make her bloody quest more interesting. Though her background is tragic and traumatic, the film makes clear that it’s her dead mother’s revenge she is carrying out, and not her own, allowing for moments of self-doubt and uncertainty. Similarly, although she is a highly skilled killer, she is far from invincible, and this allows the viewer to sympathize with her, if not identify. It helps that Meiko Kaji is excellent, making the role her own with an intense performance that at times conveys a tangible sense of barely contained violence through the smallest of actions.
“Lady Snowblood” benefits from its historical setting and the attention paid to the political nuances of the time period. The film has a voiceover by a journalist named Ashio (Toshio Kurosawa, from the classic “Water Margin”), who is investigating Yuki, and he provides plenty of social commentary on the great changes that swept the country at the time. As well as giving the film an interesting and realistic grounding, this allows for a few moments of sly humor that lighten the mood somewhat. Since the film has a fairly slow pace between the fight scenes, this is very welcome and keeps things moving along nicely.
The direction by Toshiya Fujita (relatively unknown in the West apart from the “Lady Snowblood” films) is excellent and at times beautiful. The film boasts a rich color scheme, predominantly using deep red and cold white, usually in the form of the film’s common motifs of blood and snow. The cinematography is gorgeous, and although the film does at times look low budget, it provides an evocative and atmospheric look at ancient Japan.
The action scenes are excellent and well shot, relying on short bursts of swordplay rather than extended martial arts battles. The action is tense and exciting, and usually drenched in geysers of spraying red. “Lady Snowblood” is a very violent film, and there is a great deal of hacking, slashing and dismemberment, which is bound to please fans of the genre.
“Lady Snowblood” is a classic, and deserves to be recognized far beyond its value as an inspiration to the films of Tarantino. It offers fans of martial arts and samurai films plenty of action, a beautiful, tragic heroine, and a gripping tale of revenge, all set against a fascinating historical backdrop. Though I’m sure we will see countless more ‘female samurai’ films, I’m equally sure that “Lady Snowblood” will stand the test of time far better than any of them.
Toshiya Fujita (director) / Kazuo Uemura, Kazuo Koike (screenplay)
CAST: Meiko Kaji …. Yuki Kashima
Toshio Kurosawa …. Ryuurei Ashio
Miyoko Akaza …. Sayo Kashima
Masaaki Daimon …. Gou Kashima
3 ) 借鉴一下写故事的方法
电影本身因为年代比较久，很多方面都不吐槽，而且浮夸也是中美嘛。倒是故事本身很值得借鉴。这是一个非常正统的传奇故事的写法，先是简短有力带点传奇色彩的源起，在第一个环节加入隐线作为最后反转的伏笔；第二个环节出现意外，故事进入低谷，并带出第三个故事的次要人物及第四个环节的主要反转；第三个故事以出乎意料的方式结束，由此引出第四个环节，最终所有埋伏的隐线一起发作，故事产生反转，结束。按照这样的布局写个小说，只要文笔不太差，剧情不太狗血都是很好看的，编剧不错呦。
4 ) 《修羅雪姬》觀後感
引子
雪雨墜落, 身穿素白和服神秘女子手握雨傘, 攔截前進轎夫, 她引發力道抽出偽裝傘把手, 銀光閃動, 懂刀法數個深衣男子倒地, 血水染紅茫茫大地...
電影開場這樣子帶出女主角足以觸發觀眾好奇心: 白衣麗人臉白如雪, 發亮服飾仿傚同氣候環境融為一體, 鉛黑傘子廣罩敵手, 濃烈殺氣要堂堂男子殺聲高吭撲向來歷不明女子, 數招起落, 道道血線上噴, 哀號命喪幾乎同時和應, 老大仗著久歷江湖風雨氣勢, 起座, 衝向女子, 對手劍刃刺穿首領那飽歷風霜軀體時他心有不甘氣絕。 導演利用女主角猶如白色喪服營造怒濤浪花仇恨; 黑傘柄劍儼如好戰修羅揮舞奪命; 有如紅油漆加工血水自斷口傷痕四灑塗紅了片片白地, 憑服裝用具色彩、白雨占紅殺意恩仇的淒美, 奇女子為何執意行私刑? 她到底是誰? 背負的是何種血海深仇? 引人入勝片首牽扯了觀眾想進入女主角招出見血的心境來源, 他們自然屏息以待, 留意劇情發展。
第二段場景是監獄, 數個穿著火紅囚衣女人協助臨盆孕婦接生, 外面漫天風雪, 牢房大汗淋漓, 新生命要在腥血罪孽深重人間出世, 哭聲震盪生母, 女嬰不是母親要的性別, 女子天性體能地位積弱, 豈能執刀報血仇? 後裔既然來了, 母親唯有把一切寄望放在女兒身上, 她說了[可憐的孩子, 你是為復仇而生。]要至親赴死的遺言。明知惡人當道, 要女兒明刀明槍手刃仇人十分渺茫, 就算用了陰損手段報仇, 仇家後人難保不會找到女兒血債血償。母親要是疼愛所出, 就不會, 不要女兒終生背負家仇不報不共戴天重擔, 愛女只需健康快樂成長, 不要知道家庭慘案, 平淡開枝散葉就是了, 有道不知不覺是福份, 終身承擔深仇是淚痕。
第三節是孤女千里尋仇, 筆者原以為導演會順序說出母親不近人情動機, 怎料此段描述雪子同仇家竹村半藏女兒昆布繪有了數面之緣, 繪父親嗜賭好酒, 多占杯中物難免多病, 女兒騙老父編織竹籃供不應求, 實則沒人購買, 生活迫人, 父親藥費不菲, 少女身體是最大利錢, 肯賣身妓院籌錢支付醫藥費是女兒報答父親養育之恩。父親當然沒有告訴女兒當年惡行, 雪子岸灘殺竹村半藏是履行母親生育大恩, 她把屍體拖拉山邊推下懸崖, 女兒同是把賣不出的竹籃倒落大海, 雪子這樣做是發洩昆布繪父親那殺死無仇無怨雪子生父, 兄長及三天三夜污辱生母的怒火, 當然, 死者女兒看不到棄屍現場, 雪子的身體力行只是暗喻女兒的好意騙術對象是大大幫不得的表象可憐, 內心歹毒的惡棍。
第四節導演總算不吊了觀眾癮子, 他解釋了雪子母親小夜強烈執念來由。母親殺了仇人身陷囹圄, 其餘三人消遙法外,丈夫及兒子既已死去, 復仇大志幻滅, 子宮是新生命誕生的媒介, 只要不怕人家說是下賤婊子, 她可以張開兩腿迎合僧侶、獄卒抽送, 花芯吸納的洩出精華懷孕成胎, 孩子生父是誰不打緊, 經恨意滔天所生的後人不是男的重重打擊了母親期望, 她心力交瘁交託剛出生女嬰要報父親大哥的血仇, 含淚離世, 女兒是同母異父, 女兒對沒有血緣父親及哥哥可謂親情缺缺, 母親利用女兒成為復仇殺器, 感情是恨; 女兒只是母親濫交下所生遵循遺言, 沒有自主的人世殺手。
師傅同女弟子雪子對劍交鋒, 師尊劍光一劃, 小雪子衣裳破開, 小女孩赤著身子那幕筆者心頭一震, 為了報仇, 天大克苦訓練, 甚至剖衣露體的侮辱女性雪子一一承受, 她背負的痛、恨實在獨力難支啊!
附上梶芽衣子主唱電影《修羅雪姬》主題曲[修羅之花]歌詞, 大家可以感受女主角孤身走我路的凄苦。
死去的那個早上，下起了憑弔的雪
遠處的犬吠，木屐的足音
我背負因果的重擔前行
擁抱著黑暗，撐著一把蛇目雨傘
走在生死之路上的女人，連眼淚都早已捨棄
回眸一望，河川上旅途的燈火漸漸遠去
凍僵的鶴一動也不動，雨和風好像在哭泣
冰冷的水面，映著解開的髮
不讓別人看見淚水，撐著一把蛇目雨傘
走在怨恨之路上的女人，連心都早已捨棄
義理與自尊，眼淚與美夢
昨日與明日，都是與我無緣的詞句
委身於怨恨的河川隨波逐流
連女人的身分都早已捨棄
引自：http://blog.yam.com/vivinanao/article/3226230)
Patrick Chan寫於2016年5月30日
雪雨墜落, 身穿素白和服神秘女子手握雨傘, 攔截前進轎夫, 她引發力道抽出偽裝傘把手, 銀光閃動, 懂刀法數個深衣男子倒地, 血水染紅茫茫大地...
電影開場這樣子帶出女主角足以觸發觀眾好奇心: 白衣麗人臉白如雪, 發亮服飾仿傚同氣候環境融為一體, 鉛黑傘子廣罩敵手, 濃烈殺氣要堂堂男子殺聲高吭撲向來歷不明女子, 數招起落, 道道血線上噴, 哀號命喪幾乎同時和應, 老大仗著久歷江湖風雨氣勢, 起座, 衝向女子, 對手劍刃刺穿首領那飽歷風霜軀體時他心有不甘氣絕。 導演利用女主角猶如白色喪服營造怒濤浪花仇恨; 黑傘柄劍儼如好戰修羅揮舞奪命; 有如紅油漆加工血水自斷口傷痕四灑塗紅了片片白地, 憑服裝用具色彩、白雨占紅殺意恩仇的淒美, 奇女子為何執意行私刑? 她到底是誰? 背負的是何種血海深仇? 引人入勝片首牽扯了觀眾想進入女主角招出見血的心境來源, 他們自然屏息以待, 留意劇情發展。
第二段場景是監獄, 數個穿著火紅囚衣女人協助臨盆孕婦接生, 外面漫天風雪, 牢房大汗淋漓, 新生命要在腥血罪孽深重人間出世, 哭聲震盪生母, 女嬰不是母親要的性別, 女子天性體能地位積弱, 豈能執刀報血仇? 後裔既然來了, 母親唯有把一切寄望放在女兒身上, 她說了[可憐的孩子, 你是為復仇而生。]要至親赴死的遺言。明知惡人當道, 要女兒明刀明槍手刃仇人十分渺茫, 就算用了陰損手段報仇, 仇家後人難保不會找到女兒血債血償。母親要是疼愛所出, 就不會, 不要女兒終生背負家仇不報不共戴天重擔, 愛女只需健康快樂成長, 不要知道家庭慘案, 平淡開枝散葉就是了, 有道不知不覺是福份, 終身承擔深仇是淚痕。
第三節是孤女千里尋仇, 筆者原以為導演會順序說出母親不近人情動機, 怎料此段描述雪子同仇家竹村半藏女兒昆布繪有了數面之緣, 繪父親嗜賭好酒, 多占杯中物難免多病, 女兒騙老父編織竹籃供不應求, 實則沒人購買, 生活迫人, 父親藥費不菲, 少女身體是最大利錢, 肯賣身妓院籌錢支付醫藥費是女兒報答父親養育之恩。父親當然沒有告訴女兒當年惡行, 雪子岸灘殺竹村半藏是履行母親生育大恩, 她把屍體拖拉山邊推下懸崖, 女兒同是把賣不出的竹籃倒落大海, 雪子這樣做是發洩昆布繪父親那殺死無仇無怨雪子生父, 兄長及三天三夜污辱生母的怒火, 當然, 死者女兒看不到棄屍現場, 雪子的身體力行只是暗喻女兒的好意騙術對象是大大幫不得的表象可憐, 內心歹毒的惡棍。
第四節導演總算不吊了觀眾癮子, 他解釋了雪子母親小夜強烈執念來由。母親殺了仇人身陷囹圄, 其餘三人消遙法外,丈夫及兒子既已死去, 復仇大志幻滅, 子宮是新生命誕生的媒介, 只要不怕人家說是下賤婊子, 她可以張開兩腿迎合僧侶、獄卒抽送, 花芯吸納的洩出精華懷孕成胎, 孩子生父是誰不打緊, 經恨意滔天所生的後人不是男的重重打擊了母親期望, 她心力交瘁交託剛出生女嬰要報父親大哥的血仇, 含淚離世, 女兒是同母異父, 女兒對沒有血緣父親及哥哥可謂親情缺缺, 母親利用女兒成為復仇殺器, 感情是恨; 女兒只是母親濫交下所生遵循遺言, 沒有自主的人世殺手。
師傅同女弟子雪子對劍交鋒, 師尊劍光一劃, 小雪子衣裳破開, 小女孩赤著身子那幕筆者心頭一震, 為了報仇, 天大克苦訓練, 甚至剖衣露體的侮辱女性雪子一一承受, 她背負的痛、恨實在獨力難支啊!
附上梶芽衣子主唱電影《修羅雪姬》主題曲[修羅之花]歌詞, 大家可以感受女主角孤身走我路的凄苦。
死去的那個早上，下起了憑弔的雪
遠處的犬吠，木屐的足音
我背負因果的重擔前行
擁抱著黑暗，撐著一把蛇目雨傘
走在生死之路上的女人，連眼淚都早已捨棄
回眸一望，河川上旅途的燈火漸漸遠去
凍僵的鶴一動也不動，雨和風好像在哭泣
冰冷的水面，映著解開的髮
不讓別人看見淚水，撐著一把蛇目雨傘
走在怨恨之路上的女人，連心都早已捨棄
義理與自尊，眼淚與美夢
昨日與明日，都是與我無緣的詞句
委身於怨恨的河川隨波逐流
連女人的身分都早已捨棄
引自：http://blog.yam.com/vivinanao/article/3226230)
Patrick Chan寫於2016年5月30日
5 ) 复仇之花
看《修罗雪姬》很容易想起《杀死比尔》。一样的复仇女神，一样的日本刀，一样的刀锋过处寸草不生，一样的以一敌多照样可以砍肢断臂，鲜血垂直喷涌而出，像一个个血水龙头。只是《修罗雪姬》在先，昆汀在录象租赁店当伙计时看过应该深受震撼，拍《杀死比尔》时就拿来主义借鉴了，连主题曲《修罗之歌》也直接采用。
“古语有云，净化这个衰败世界的不是纯洁的雪，而是沾满血的雪，来自地狱的雪。”修罗雪姬出生就被赋予了复仇的使命。她的父亲和自己无血缘关系，她的出生是因为父亲和哥哥惨遭杀害后，母亲色诱男人而获得的生命，是母亲在苦难孕育的复仇之花。她本应是个男孩子，然而她是女子，一个抹去了性别痕迹的为复仇而生的女子。（这点和《杀死比尔》中因被血染婚礼现场而复仇，有着本质的差异）
修罗雪姬的四个杀父仇人，第一个是母亲生前捅死的；第二个已经是烂赌嗜酒潦倒的竹村半藏，在海边被雪姬复仇，雪姬对竹村天真烂漫的女儿昆布绘网开一面；第三个女恶霸北冰冲野被修罗雪姬追杀时，已被躲在暗处的塚本义四郎在密室中吊死，怒极之下一刀拦腰砍断，恨她身为女人却协助其他恶霸对其母的凌辱；第四个是冷酷城府的军火商人塚本义四郎，他企图假死躲过此劫。其子足尾龙岭与父亲立场相对，办小报为生，与雪姬一见钟情，互相依偎，助雪姬因父亲出动，牺牲自己成全雪姬的复仇大计。最后雪姬倒在了昆布绘的利刃下，血债血偿，因果轮回。
血也无法净化这个世界，只是暂时把这个世界给吓愣了，定格了～
修罗雪姬若是能死在昆布绘的匕首下，也许是她最好的出路。她为复仇而生，完成复仇而亡。可惜她活下来了，迎接她的除了第二天升起的太阳，还有痛苦，那种不知为何而活的痛苦，那种情感不知如何安放的痛苦。
《修罗雪姬》在故事结构和内在精神上和中国七八十年代的武侠电影一脉相承。难得的是，没有像其他日本电影那样的色情元素，显得更加纯粹。
6 ) 杀死比尔明显抄袭此片
杀死比尔明显抄袭此片，本片比好莱坞提前伟大30年！剧情饱满，气氛铺设到位，美术精致，节奏感叙事方式都突破当时的传统~动画元素介入、章节叙事，手法多样！昆汀不是借鉴，而是学习！没有杀死比尔的妥协和圆滑，只有东方文化中彻骨的仇恨和无法解脱！但是东方文化里，这种冤冤相报可不是什么美德啊。
1.为复仇而生，来自地狱的雪；2.镜头、构图充满了仪式感，好看极了。
油纸伞，仇美人，杀戮花，多寂寥
最喜欢她死去时的那个雪景，血浆用的真不吝啬啊，仇人倒在海里那个镜头真是夸张，那血海一片哪里死的是人那，简直怀疑死的是头鲸。
马不停蹄的复仇的她，忽然顿了一顿，自小所有精力都用来练剑的她，在处寺庙见到一群女孩唱歌游戏，她不觉驻足，忽然被感动。于是观者在一堆疲惫的武戏里抬身，记得住的就是此处的一顿。感念导演厚意，想必这部漫画改编作品，原本的书页里也有这样的几格交代吧。
本片是杀死比尔系列的祖宗，如下几点均被昆汀搬去模仿：章回式的结构设定、仇人的仰拍群像镜头、青叶屋厮杀的群殴模式和场景布局、石井阿莲的雪中扮相、残酷习武的桥段配置、插曲 The Flower Of Carnage。——这厮致敬得真彻底呀！【★★★☆ 】
看过才知道昆汀的《杀死比尔》“致敬”《修罗雪姬》有多彻底。。。
第一部字幕翻译作品
在传统复仇套路之下几乎包罗万象：对剑戟片的革新，对电影文本的探讨，甚至是对日本传统与西方文明之间关系的思索。
呦西
其实我想说真正的修罗是雪姬她妈，她妈比她狠多了：不择手段的生个孩子，还要她一辈子报仇！够狠的妈。梶芽衣子把这个形象演活了，冷冰冰，一身白衣，寒意袭人。不像后来昆汀版的新娘那么华丽。从历史角度来说，本片把明治时代日本社会风貌描绘的很深刻，国家与财阀鱼肉百姓，才有雪姬这样的“女侠”。
“人们说，清洗这个腐朽世界的不是纯白之雪，而是染了炙红的雪：修罗之雪。”……普遍被视作影响昆汀的十大之一。而从题材来看，其自身或许也从稍早的意大利西部特别是死神骑马来一片中获取过灵感。
女人一发狠，男人坐不稳。
如果仅仅把修罗雪姬看成一部血浆大片，未免太低估了它的价值。藤田敏八把故事设置在明治维新这个新旧更替的时代节点上，其中出现的所有父子、母女就都有了完全超乎表面的深层含义。七十年代的日本有这样的影片可以作为发泄人民对腐败仇恨的手段，今天的中国人却没有这个机会，有点儿羡慕啊
梶芽衣子.断掉的袖子.喷溅的血
复仇在我
”女子不知心中暖，血溅白衣冬夜寒。刀起刃落遍地哀，只闻桂香油纸伞。娇颜柔媚击壮汉，复仇之路千竞帆。斩断愁肠回首望，疑是血红又雪白。“昆汀的认祖溯源，东宝藤田敏八对剑戟片的革新改良。闭上眼睛，脑补邵氏与东宝的大对决，谁输谁赢？
结尾的哀号
昆汀这哪是致敬啊简直就是翻拍嘛哈哈哈哈哈哈哈哈哈哈哈
修罗雪姬是昆汀的缪斯女神之一。看罢之后我迅速忘掉了东施效颦的《杀死比尔》，只有亚洲人才能将复仇的故事发挥得淋漓尽致，阴冷寒彻，魅影森森，不寒而栗。一袭白色和服的梶芽衣子，凌厉眼神和砍人飙血的场面美不胜收，通篇大洒西红柿和红色血块、颜料看得很过瘾。
大爱！