{"product_id":"lady-snowblood-love-song-of-vengeance-original-release-japanese-movie-poster-1974-b2-size-51-x-73cm-l41-copy","title":"“Lady Snowblood: Love Song of Vengeance” (修羅雪姫 怨み恋歌), Original Japanese First-Release Movie Poster 1974, Meiko Kaji \/ Toshiya Fujita, B2 Size (51 × 73 cm) S279","description":"\u003cp dir=\"auto\"\u003eThis is an \u003cstrong\u003eoriginal Japanese B2 theatrical poster\u003c\/strong\u003e printed in \u003cstrong\u003e1974 for the first release of\u003c\/strong\u003e \u003cem\u003e\u003cstrong\u003eLady Snowblood: Love Song of Vengeance\u003c\/strong\u003e\u003c\/em\u003e (\u003cstrong\u003e修羅雪姫 怨み恋歌 \/ Shurayukihime: Urami Renga\u003c\/strong\u003e), the second and final film in the celebrated \u003cem\u003eLady Snowblood\u003c\/em\u003e series. Directed by \u003cstrong\u003eToshiya Fujita\u003c\/strong\u003e and starring \u003cstrong\u003eMeiko Kaji\u003c\/strong\u003e as Yuki Kashima, the film was produced by \u003cstrong\u003eTokyo Eiga\u003c\/strong\u003e and released theatrically in Japan by \u003cstrong\u003eToho\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eFollowing the extraordinary visual and thematic world established by \u003cem\u003eLady Snowblood\u003c\/em\u003e in 1973, this sequel shifts Yuki’s story into the political unrest of \u003cstrong\u003eMeiji-era Japan\u003c\/strong\u003e, combining swordplay, revenge and melodrama with a darker narrative involving state power, political resistance and social upheaval.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eFilm background\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eMeiko Kaji returns as \u003cstrong\u003eYuki Kashima\u003c\/strong\u003e, the deadly swordswoman whose life has been shaped by violence and vengeance.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eWhere the first film follows Yuki’s carefully orchestrated revenge against those responsible for the destruction of her family, \u003cem\u003eLove Song of Vengeance\u003c\/em\u003e begins with a more weary and isolated heroine.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eArrested and facing execution, Yuki is instead recruited by the authorities for a secret assignment involving political dissidents.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eHer mission draws her into the world of \u003cstrong\u003eRansui Tokunaga\u003c\/strong\u003e, an anarchist and political activist whose opposition to the government forces Yuki to confront a different kind of injustice from the personal vengeance that defined her earlier life.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe film consequently broadens the series beyond individual revenge.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIts story places Yuki inside the rapidly changing political and social landscape of modernising Japan, where the violence of the sword is increasingly intertwined with \u003cstrong\u003estate repression, radical politics and resistance\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eMeiko Kaji\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eBy 1974, \u003cstrong\u003eMeiko Kaji\u003c\/strong\u003e had become one of the defining screen presences of Japanese genre cinema.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eHer performances across the \u003cem\u003e\u003cstrong\u003eStray Cat Rock\u003c\/strong\u003e\u003c\/em\u003e, \u003cem\u003e\u003cstrong\u003eFemale Prisoner Scorpion\u003c\/strong\u003e\u003c\/em\u003e and \u003cem\u003e\u003cstrong\u003eLady Snowblood\u003c\/strong\u003e\u003c\/em\u003e films established a uniquely controlled screen persona: restrained, intense and capable of communicating enormous emotional force with remarkably little dialogue.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAs Yuki, Kaji combines elegance with lethal physicality.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe character’s visual identity—\u003cstrong\u003ekimono, traditional coiffure and concealed blade\u003c\/strong\u003e—creates a deliberate tension between classical Japanese femininity and the violence surrounding her.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThat contradiction is at the heart of this poster.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003ePoster design\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis original first-release design is dominated by a magnificent \u003cstrong\u003efull-length image of Meiko Kaji as Yuki\u003c\/strong\u003e, occupying almost the entire B2 sheet.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eShe turns toward the viewer in a striped \u003cstrong\u003egrey-green kimono\u003c\/strong\u003e, her body caught in motion as one hand draws or controls a hidden blade.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eRather than presenting a conventional sword-fighting tableau, the composition isolates Yuki against a broad field of \u003cstrong\u003epale blue-grey brushwork\u003c\/strong\u003e, making her figure feel almost like a photographic subject placed inside a painted Japanese scroll.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe effect is exceptionally elegant.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eKaji’s face remains calm and controlled, while the position of her arms and the visible weapon introduce latent violence into an otherwise graceful portrait.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eA sweeping \u003cstrong\u003ered curved line\u003c\/strong\u003e cuts dramatically through the composition from the lower-left toward the upper-right.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt functions almost like a slash across the page, adding movement and dividing the photographic figure from the calligraphic title treatment.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eTitle typography\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAt upper right appears:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e修羅雪姫\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e— \u003cem\u003e\u003cstrong\u003eLady Snowblood\u003c\/strong\u003e\u003c\/em\u003e —\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003einside a narrow vertical title cartouche.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eBeside it, the sequel title:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e怨み恋歌\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e— \u003cem\u003e\u003cstrong\u003eLove Song of Vengeance\u003c\/strong\u003e\u003c\/em\u003e —\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eis rendered in enormous \u003cstrong\u003edeep-purple brush calligraphy\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe handwritten quality of the lettering contrasts beautifully with the photographic image of Kaji and gives the design a distinctly Japanese visual identity.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eRather than relying on Western-style block typography, the poster uses the expressive qualities of \u003cstrong\u003ebrushstroke, negative space and asymmetrical placement\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe result feels closer to traditional Japanese graphic composition than conventional exploitation-film advertising.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eJapanese campaign copy\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eRunning vertically beside Kaji is the poetic campaign text:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e「涙はとうに捨てました\u003cbr\u003e心はとうに捨てました\u003cbr\u003e恋することもできないで\u003cbr\u003e哀しく咲きます怨み花……」\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eApproximately:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e“My tears were discarded long ago.\u003cbr\u003eMy heart was discarded long ago.\u003cbr\u003eUnable even to love,\u003cbr\u003ethe flower of vengeance blooms in sorrow…”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe copy is an especially strong distillation of Yuki’s character.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eRather than promising action or spectacle, it presents her as a tragic figure whose emotional life has been consumed by violence and revenge.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThat melancholy tone makes this campaign markedly different from more conventional samurai posters of the period.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eGraphic structure\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe design uses an unusually restrained palette:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003ecream, pale blue-grey, muted green, purple and a single brilliant red line.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eSmall outlined flowers float through the composition, reinforcing the recurring association between Yuki, femininity and death.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAt lower left appears a stark photographic portrait of one of the male characters, interrupting the otherwise spacious design and hinting at the political and emotional conflict underlying the story.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe bottom section contains the original Toho production credits, including \u003cstrong\u003edirector Toshiya Fujita\u003c\/strong\u003e, original story credit to \u003cstrong\u003eKazuo Koike\u003c\/strong\u003e, and \u003cstrong\u003eMeiko Kaji\u003c\/strong\u003e prominently named among the cast.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe overall effect is sophisticated and unusually refined for a violent revenge film.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eRather than illustrating the film’s bloodshed directly, the poster builds tension through \u003cstrong\u003epose, calligraphy, restrained colour and implied movement\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eThe Lady Snowblood legacy\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe \u003cem\u003eLady Snowblood\u003c\/em\u003e films have become internationally recognised as landmark works of \u003cstrong\u003e1970s Japanese exploitation and revenge cinema\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eTheir combination of highly stylised violence, female-centred revenge narrative, bold colour and graphic visual composition would later influence generations of filmmakers and artists.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eMeiko Kaji’s Yuki remains one of the most recognisable female antiheroes of Japanese cinema, and imagery from the films has become inseparable from the global cult reputation of the series.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eOriginal Japanese first-release material is therefore particularly desirable, especially examples featuring \u003cstrong\u003elarge-format Meiko Kaji imagery\u003c\/strong\u003e such as this design.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eGood+ \/ Very Good original condition overall.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe poster retains \u003cstrong\u003estrong colour and excellent visual impact\u003c\/strong\u003e, with Meiko Kaji’s central portrait remaining clear and attractive and the purple, red and green typography retaining good saturation.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis example was \u003cstrong\u003epreviously folded and has subsequently been stored flat\u003c\/strong\u003e. The original horizontal and vertical storage folds remain clearly visible, with \u003cstrong\u003epronounced fold wear and creasing around the central intersection\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThere is additional age-related handling throughout, including \u003cstrong\u003esurface creasing, small abrasions, minor edge and corner wear, and scattered marks consistent with theatrical use and long-term storage\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe reverse shows extensive evidence of its historical life, including \u003cstrong\u003enumerous small pieces of old tape applied along the folds and margins\u003c\/strong\u003e, handwritten notation, age toning and general handling marks. These points have been fully taken into account in the condition grading.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eDespite this wear, the poster remains an \u003cstrong\u003eextremely attractive and evocative original first-release example\u003c\/strong\u003e, with the principal Meiko Kaji artwork retaining considerable presence.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003ePlease review all photographs carefully; they show the \u003cstrong\u003eexact poster for sale, front and reverse\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis is an \u003cstrong\u003eoriginal Japanese B2 theatrical poster from the film’s 1974 first-release campaign\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt is \u003cstrong\u003enot a reproduction or a reprint\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt is approximately \u003cstrong\u003e52 years old\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eCertificate of Authenticity included.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eCode: S279\u003c\/strong\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":57283783426426,"sku":null,"price":150.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/wall-shelf-with-ornaments_52_82be15fb-5c1a-4289-aa4c-2214dde2da60.jpg?v=1789768881","url":"https:\/\/japanposter.co.uk\/products\/lady-snowblood-love-song-of-vengeance-original-release-japanese-movie-poster-1974-b2-size-51-x-73cm-l41-copy","provider":"Japan Poster Shop","version":"1.0","type":"link"}