Poster for Monument To The Girls’ Corps (あゝひめゆりの塔) and a close up of Meiko Kaji (梶芽衣子) in it. If you want more info about this movie, I recommend the Midnight Eye review. I’ll copy and paste the relevant bit from it here:
Among the ensemble of schoolgirls in indentical white head scarves only the hawkeyed will likely spot Meiko Kaji, still credited under her birth name Masako Ota. However, as the story progresses, the focus gradually narrows over the course of the running time, down to a quintet of intrepid girls that include Kaji. The weight of the drama, however, is fully on the shoulders of Yoshinaga, who was in every way Kaji’s polar opposite, a fresh-faced starlet who would go on to be one of the most in-demand actresses of the next two decades (and is currently making a rather puzzlingly sudden comeback through films such as Isao Yukisada’s Year One in the North / Kita no Zero-nen). Masuda also realised the difference between the two, even at this early stage in their careers, and it is fascinating to see how much of their temperament (or rather, the direction in which studio management wished to push them) shines through in the film: When the two girls carry a wounded soldier to his bunk, they implore a former teacher of theirs to move out of the way and let them pass. But the bespectacled man just sits there, muttering that all is lost for Japan. No prizes for guessing which of the two girls steps forward to strike an angry blow across the coward’s face.