“The Third Man” (第三の男), Original Japanese First-Release Movie Poster 1952, Noguchi Artwork variant, Ultra Rare, B2 Size (51 × 73 cm) (G)

A superb 1952 first-release Japanese B2 for Carol Reed’s noir masterpiece The Third Man—one of the defining high‑water marks of post‑war European thriller cinema, and a cornerstone title for serious collectors of classic imported‑film Japanese paper.

Multiple first‑run poster designs are documented from the film’s initial Japanese campaign (with artwork varying by size), and this is the celebrated Hisamitsu Noguchi painted variant—the version most often sought for its artistry and visual power.

Noguchi’s composition is pure mid‑century Japanese poster magic: a moody Vienna streetscape rendered in inky greens and browns; expressive, hand‑painted English typography; and luminous portraiture that feels closer to fine illustration than standard commercial advertising. This is an exceptionally hard poster to source—even within Japan—making it a standout opportunity for collectors of “blue‑chip” world cinema titles.

Date & Japanese Theatrical Release

Produced in 1949, The Third Man reached Japanese cinemas on 16 September 1952—and this B2 is a scarce survivor from that original Japanese theatrical run. Over seven decades on, it remains an emblematic example of the era’s imported‑film campaigns, when Japanese distributors frequently commissioned bespoke artwork rather than relying on a standard international layout.

The Film & Its Place in Cinema History

Few films carry a critical pedigree as consistent as The Third Man. In 1999, the British Film Institute placed it at #1 in its poll of the 100 best British films of the 20th century—an extraordinary endorsement of its lasting status and influence.

That reputation is reinforced by its repeated inclusion in the BFI Sight & Sound “Greatest Films of All Time” canon: it ranked 73rd in the 2012 critics’ poll and 63rd on the later all‑time list—rare air for any thriller, and a clear marker of long‑term scholarly and critical esteem.

The awards history is equally strong: it won the Cannes Film Festival Grand Prix and earned the Academy Award for Best Black‑and‑White Cinematography (with additional major nominations also recorded).

Noguchi and the Japanese Campaign

Hisamitsu Noguchi (野口久光, 1909–1994) is widely celebrated as one of the great illustrators of Japanese movie‑poster art—particularly for imported Western titles. Japanese sources note that he produced more than 1,000 posters, and that he often painted not only the imagery but also the lettering (including titles and cast names), giving his sheets a distinctive “fully hand‑rendered” presence prized by collectors.

For The Third Man’s Japanese release, multiple designs were created (including variations by size), but the Noguchi illustrated style is the one collectors most actively pursue—an unusually atmospheric fusion of European noir and Japanese painterly advertising.

London Films, Selznick, and Tōwa — Period Branding

The sheet retains key period “fingerprints” of its original distribution context: the English credit line naming Alexander Korda and David O. Selznick, and the Japanese distributor line indicating Tōwa’s involvement—details that anchor this poster firmly to the film’s original imported‑film release era in Japan.

Design Notes

Noir atmosphere, Japanese painterly touch: the background is a shadowed, war‑scarred urban scene—suggestive of post‑war Vienna—painted in deep olive, charcoal, and umber, punctuated by warm streetlamp light.

Portrait-led drama: the sheet is dominated by a luminous female portrait with vivid teal eyes and clasped hands, counterweighted by a looming male profile at right and a stern, shadowed figure at upper left—an immediate visual shorthand for suspicion, pursuit, and moral ambiguity.

Typography as texture: the English title THE THIRD MAN is rendered in thick, brushy ochre letters; the cast list appears in stacked turquoise; and the Japanese title 第三の男 (“The Third Man”) explodes across the lower half in massive, calligraphic crimson forms—dramatic and commanding at full B2 scale (51 × 73 cm).

Japanese tagline translation (top, yellow): “In the defeated city of Vienna, a brutal struggle between the pursuer and the pursued! Depicting the delicate heart of a woman and the depths of human psychology.”

Key Japanese credit translation (center, teal): 巨匠キャロル・リード 製作・監督 — “Master Carol Reed — producer & director.”

Notable small-print cross-promotion (bottom left): グレアム・グリーン著・遠藤慎吾訳『第三の男』早川書房刊・発売中 × 主題曲 デッカ・レコード ガイ・ロンバード楽団 DE‑53 発売中 — “Graham Greene (author), translated by Shingo Endō: ‘The Third Man’ (Hayakawa Shobō, now on sale) × Theme music: Decca Records, Guy Lombardo Orchestra (DE‑53), now on sale.” (A superb period detail: book + record tie‑ins alongside the film itself.)

Conservation & Condition Report

Overall condition: Excellent (restored) and highly impressive for an early‑1950s Showa‑era sheet.

Professional conservation: this poster has been conserved and backed with traditional Japanese washi to stabilize the paper for long‑term preservation and display. Paper conservation practice commonly favors stable, reversible materials—often Japanese paper repairs paired with wheat starch paste—so future conservators can reverse treatments if required.

Storage history: stored flat for approximately 25 years in a custom‑made poster cabinet, supporting its strong overall presentation.

Restoration visibility: restoration is not immediately distracting, but very close inspection reveals repaired areas on the verso (please refer to the provided detail imagery—most noticeable on the verso). The verso clearly shows the conservation backing and stabilized repair zones.

Toning: light, normal age‑appropriate toning is limited to the verso (as expected for period paper). Overall presentation is crisp, vibrant, and ready to frame.

Please review the provided photos (front and back) — they show the exact poster offered.