{"product_id":"1941-１９４１-いちきゅうよんいち-rare-original-japanese-first-release-advance-teaser-movie-poster-1979-b1-size-c-72-103-cm-hak-a-copy","title":"“1941” (1941／いちきゅうよんいち), Rare Original Japanese First-Release Double-Sided Theatrical Promotional Poster 1980, B2 Size (c. 51.5 × 72.8 cm) S250","description":"\u003cp\u003eThis is an \u003cstrong\u003eoriginal Japanese B2 double-sided theatrical promotional poster produced for the first Japanese release of Steven Spielberg’s\u003c\/strong\u003e \u003cem\u003e\u003cstrong\u003e1941\u003c\/strong\u003e\u003c\/em\u003e. The film opened in Japan on \u003cstrong\u003e8 March 1980\u003c\/strong\u003e, following its American release in December 1979.\u003c\/p\u003e\n\u003cp\u003eDirected by \u003cstrong\u003eSteven Spielberg\u003c\/strong\u003e, with a screenplay by \u003cstrong\u003eRobert Zemeckis and Bob Gale\u003c\/strong\u003e from a story by Zemeckis, Gale and \u003cstrong\u003eJohn Milius\u003c\/strong\u003e, \u003cem\u003e1941\u003c\/em\u003e is Spielberg’s extraordinary large-scale wartime comedy set amid the hysteria that followed the attack on Pearl Harbor.\u003c\/p\u003e\n\u003cp\u003eIts remarkable ensemble includes \u003cstrong\u003eJohn Belushi, Dan Aykroyd, Ned Beatty, Lorraine Gary, Murray Hamilton, Christopher Lee, Tim Matheson, Toshiro Mifune, Warren Oates, Robert Stack, Treat Williams, Nancy Allen, John Candy and Slim Pickens\u003c\/strong\u003e, with music by \u003cstrong\u003eJohn Williams\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eWhat makes this example especially interesting is its \u003cstrong\u003eunusual double-sided construction\u003c\/strong\u003e. One face functions as an exceptionally graphic Japanese theatrical poster, while the reverse is fully printed as an elaborate \u003cstrong\u003epress-sheet-style promotional presentation\u003c\/strong\u003e, filled with cast information, production notes, photographs and character material.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFilm background\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSet in Southern California in \u003cstrong\u003eDecember 1941\u003c\/strong\u003e, shortly after the Japanese attack on Pearl Harbor, the film transforms wartime panic into an enormous comic spectacle.\u003c\/p\u003e\n\u003cp\u003eRumours of an imminent Japanese attack send Los Angeles into chaos while American servicemen, civilians, pilots and anti-aircraft crews become increasingly incapable of distinguishing genuine danger from their own hysteria.\u003c\/p\u003e\n\u003cp\u003eMeanwhile, a Japanese submarine commanded by \u003cstrong\u003eToshiro Mifune\u003c\/strong\u003e, with \u003cstrong\u003eChristopher Lee\u003c\/strong\u003e aboard as a German officer, approaches the Californian coast in search of Hollywood.\u003c\/p\u003e\n\u003cp\u003eThe result is among the most extravagant films Spielberg ever made: a collision of \u003cstrong\u003ewar movie, screwball comedy, slapstick, action spectacle and Hollywood self-parody\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eIts extraordinary technical scale is equally important. Full-size sets, aircraft sequences, miniatures, explosions, elaborate stunt work and large crowds turn the film into a deliberately excessive piece of filmmaking—one whose reputation has grown considerably since its original release.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFront design\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe principal side of this poster is radically different from conventional photographic movie advertising.\u003c\/p\u003e\n\u003cp\u003eAgainst a nearly uninterrupted \u003cstrong\u003eblack field\u003c\/strong\u003e, the title:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1941\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eis rendered as four enormous \u003cstrong\u003emetallic-grey numerals\u003c\/strong\u003e, stretched diagonally across almost the entire B2 sheet.\u003c\/p\u003e\n\u003cp\u003eThe scale is tremendous. Rather than presenting the movie through actors or action scenes, the designer transforms the title itself into the visual spectacle.\u003c\/p\u003e\n\u003cp\u003eThe huge numerals feel almost monumental—somewhere between \u003cstrong\u003eindustrial signage, wartime typography and modern graphic design\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eAround the centre of the “9” appears a small comic caricature wearing a red \u003cstrong\u003e1941\u003c\/strong\u003e cap beside a periscope-like device, introducing a deliberately absurd visual detail into an otherwise severe minimalist composition.\u003c\/p\u003e\n\u003cp\u003eThe contrast is entirely appropriate to the film: \u003cstrong\u003emassive military-scale spectacle punctured by ridiculous human comedy\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eAbove the production credits appears the red Japanese campaign line:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e「これは、笑いのカーニバルだ、驚きのドミノ・パニックだ。」\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eApproximately:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e“This is a carnival of laughter — an astonishing domino panic.”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe relatively tiny turquoise production credits beneath the line contrast sharply with the huge grey numerals, further emphasising the extraordinary scale of the title treatment.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe double-sided reverse\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe reverse is almost as compelling as the main poster.\u003c\/p\u003e\n\u003cp\u003eRather than remaining blank, the entire surface is transformed into a colourful \u003cstrong\u003eSteven Spielberg \/ 1941 promotional dossier\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eAcross one edge appears the large scripted name:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSteven Spielberg\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003etogether with the enormous numerals:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1941\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe remaining field is divided into brightly coloured horizontal sections—\u003cstrong\u003eyellow, violet, pink, green, black, orange and blue\u003c\/strong\u003e—filled with Japanese text, cast profiles, production information and film stills.\u003c\/p\u003e\n\u003cp\u003eThe sheet introduces members of the film’s enormous ensemble individually, combining portrait photographs with commentary and character information.\u003c\/p\u003e\n\u003cp\u003eA central black section carries a dense body of Japanese editorial copy about the production, while smaller stills reproduce some of the film’s enormous set pieces and comic situations.\u003c\/p\u003e\n\u003cp\u003eAt the bottom, the caricature motif from the principal side returns, visually linking the two faces of the sheet.\u003c\/p\u003e\n\u003cp\u003eThis extensive reverse printing gives the poster the character of both a \u003cstrong\u003edisplay piece and a theatrical publicity document\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eIt is a particularly appealing survival because it preserves not merely the film’s key visual campaign but also the way Japanese audiences and exhibitors were introduced to Spielberg’s enormous ensemble production.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSpielberg between Jaws and Raiders\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e1941\u003c\/em\u003e occupies a fascinating position in \u003cstrong\u003eSteven Spielberg’s early career\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eIt followed the phenomenal successes of \u003cem\u003e\u003cstrong\u003eJaws\u003c\/strong\u003e\u003c\/em\u003e and \u003cem\u003e\u003cstrong\u003eClose Encounters of the Third Kind\u003c\/strong\u003e\u003c\/em\u003e and immediately preceded \u003cem\u003e\u003cstrong\u003eRaiders of the Lost Ark\u003c\/strong\u003e\u003c\/em\u003e and \u003cem\u003e\u003cstrong\u003eE.T. the Extra-Terrestrial\u003c\/strong\u003e\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eRather than repeating the controlled suspense of \u003cem\u003eJaws\u003c\/em\u003e or the lyrical science fiction of \u003cem\u003eClose Encounters\u003c\/em\u003e, Spielberg deliberately pursued scale, speed and comic excess.\u003c\/p\u003e\n\u003cp\u003eThe film became notorious for its enormous production, yet that very extravagance is now one of its principal attractions.\u003c\/p\u003e\n\u003cp\u003eIts cast and creative personnel also provide a remarkable snapshot of late-1970s American filmmaking: \u003cstrong\u003eJohn Belushi and Dan Aykroyd\u003c\/strong\u003e emerging from \u003cem\u003eSaturday Night Live\u003c\/em\u003e, Zemeckis and Gale shortly before \u003cem\u003eBack to the Future\u003c\/em\u003e, John Williams providing the score, and Spielberg testing the limits of large-scale studio spectacle.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJapanese significance\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe presence of \u003cstrong\u003eToshiro Mifune\u003c\/strong\u003e gave the film a particularly strong point of recognition for Japanese audiences.\u003c\/p\u003e\n\u003cp\u003eMifune plays the Japanese submarine commander with his characteristic authority, while the film deliberately contrasts his comparatively disciplined officer with the escalating absurdity on the American side.\u003c\/p\u003e\n\u003cp\u003eThe Japanese campaign consequently had an unusual amount to work with: Spielberg’s international reputation, a huge American ensemble, spectacular effects and one of Japan’s most internationally celebrated actors.\u003c\/p\u003e\n\u003cp\u003eThis double-sided poster reflects that abundance.\u003c\/p\u003e\n\u003cp\u003eOne side reduces the film to the stark numerical identity \u003cstrong\u003e1941\u003c\/strong\u003e; the other explodes outward into colour, photographs, biographies and production information.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe B2 format\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eMeasuring approximately \u003cstrong\u003e51.5 × 72.8 cm\u003c\/strong\u003e, the Japanese \u003cstrong\u003eB2\u003c\/strong\u003e was the principal theatrical poster format used by Japanese cinemas.\u003c\/p\u003e\n\u003cp\u003eDouble-sided B2 promotional pieces of this type are \u003cstrong\u003econsiderably less commonly encountered than ordinary single-sided theatrical sheets\u003c\/strong\u003e, particularly when the reverse contains such extensive original campaign material.\u003c\/p\u003e\n\u003cp\u003eThe black principal side is also particularly unforgiving of damage: scratches, creases and abrasions readily expose the pale paper beneath the dark printing.\u003c\/p\u003e\n\u003cp\u003eA strongly preserved example therefore has considerable visual advantage.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eExcellent condition overall.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe principal side retains a \u003cstrong\u003edeep, even black field\u003c\/strong\u003e, with the enormous metallic-grey \u003cstrong\u003e1941\u003c\/strong\u003e numerals remaining clean and sharply defined. The red, turquoise and yellow typography remains strong, while the small central illustration retains excellent colour and detail.\u003c\/p\u003e\n\u003cp\u003eThe extensively printed reverse is also very well preserved, with \u003cstrong\u003ebright, saturated colour across the multiple graphic panels\u003c\/strong\u003e, clear photographs and crisp Japanese typography.\u003c\/p\u003e\n\u003cp\u003eThere are only \u003cstrong\u003elight age-related handling marks, minor surface impressions and subtle edge or corner wear\u003c\/strong\u003e visible on close inspection. There are no major defects compromising either side of the design.\u003c\/p\u003e\n\u003cp\u003ePlease review all photographs carefully; they show the \u003cstrong\u003eexact double-sided poster for sale\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eThis is an \u003cstrong\u003eoriginal Japanese B2 double-sided theatrical promotional poster from the film’s first Japanese release campaign in 1980\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eIt is \u003cstrong\u003enot a reproduction or modern reprint\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003eIt is approximately \u003cstrong\u003e46 years old\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCertificate of Authenticity included.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":57269447590266,"sku":null,"price":125.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/wall-shelf-with-ornaments_20_3bd82145-cd7b-4acb-9d29-252c42270224.jpg?v=1789459136","url":"https:\/\/japanposter.co.uk\/products\/1941-%ef%bc%91%ef%bc%99%ef%bc%94%ef%bc%91-%e3%81%84%e3%81%a1%e3%81%8d%e3%82%85%e3%81%86%e3%82%88%e3%82%93%e3%81%84%e3%81%a1-rare-original-japanese-first-release-advance-teaser-movie-poster-1979-b1-size-c-72-103-cm-hak-a-copy","provider":"Japan Poster Shop","version":"1.0","type":"link"}