{"product_id":"borsalino-ボルサリーノ-original-first-release-japanese-movie-poster-1970-rare-alain-delon-jean-paul-belmondo-design-stb-tatekan-size-c-51-145-cm-o839","title":"“Borsalino” (ボルサリーノ), Original First-Release Japanese Movie Poster 1970, Rare Alain Delon \/ Jean-Paul Belmondo Design, STB \/ Tatekan Size (c. 51 × 145 cm) O839","description":"\u003cp dir=\"auto\" class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003eA magnificent Japanese interpretation of French gangster cinema\u003c\/strong\u003e\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAn \u003cstrong\u003eoriginal first-release Japanese STB \/ tatekan poster\u003c\/strong\u003e for \u003cem\u003eBorsalino\u003c\/em\u003e, issued for its \u003cstrong\u003e1970 Japanese theatrical release through Paramount Pictures\u003c\/strong\u003e. The film opened in Japan on \u003cstrong\u003e13 June 1970\u003c\/strong\u003e, bringing together \u003cstrong\u003eAlain Delon and Jean-Paul Belmondo\u003c\/strong\u003e in a lavish period gangster adventure directed by \u003cstrong\u003eJacques Deray\u003c\/strong\u003e. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAlmost five feet tall, this striking Japanese composition combines \u003cstrong\u003etwo monumental cigar-smoking portraits, an enormous scarlet title, a warm-toned Marseille street scene and smaller action and romantic vignettes\u003c\/strong\u003e. It captures the film’s appeal through clothes, faces, atmosphere and movement rather than an overcrowded display of gunfire.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe contrast is particularly attractive: \u003cstrong\u003edeep blue-grey night scenes above, honey-coloured architecture below, and bold red Japanese lettering connecting the two sections\u003c\/strong\u003e. The result is a poster with tremendous presence, equally compelling as original film publicity and as a piece of early-1970s Japanese graphic design.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003ePreserved in \u003cstrong\u003eVery Good+ to Excellent condition\u003c\/strong\u003e, this complete example retains rich colour and a beautifully balanced overall appearance. \u003cstrong\u003eOnce framed as a complete STB, it will make an exceptional centrepiece.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eThe film\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eSet in \u003cstrong\u003e1930s Marseille\u003c\/strong\u003e, \u003cem\u003eBorsalino\u003c\/em\u003e follows the rise of \u003cstrong\u003eRoch Siffredi and François Capella\u003c\/strong\u003e, two small-time criminals whose initial rivalry develops into friendship and partnership. Beginning with comparatively modest schemes, they become increasingly ambitious, challenging the established figures who control the city’s criminal economy. What starts with energy, humour and opportunism gradually becomes a more dangerous story about power and the cost of success. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eAlain Delon plays Siffredi\u003c\/strong\u003e, while \u003cstrong\u003eJean-Paul Belmondo plays Capella\u003c\/strong\u003e. Their partnership is the centre of the film: two contrasting personalities discovering that their combined talents can take them further than either could travel alone. The changing relationship between them gives the criminal ascent its emotional weight.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe film was also an important production venture for \u003cstrong\u003eDelon\u003c\/strong\u003e, who served as producer. Drawing on \u003cstrong\u003eEugène Saccomano’s \u003cem\u003eBandits à Marseille\u003c\/em\u003e\u003c\/strong\u003e, the screenplay brought together \u003cstrong\u003eJean-Claude Carrière, Claude Sautet, Jacques Deray and Jean Cau\u003c\/strong\u003e. \u003cstrong\u003eJean-Jacques Tarbès’ cinematography\u003c\/strong\u003e and \u003cstrong\u003eClaude Bolling’s score\u003c\/strong\u003e helped establish the picture’s distinctive period atmosphere. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eDelon, Belmondo and Jacques Deray\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe attraction of \u003cem\u003eBorsalino\u003c\/em\u003e lies partly in its celebration of \u003cstrong\u003etwo of French cinema’s defining leading men within a single, purpose-built star vehicle\u003c\/strong\u003e. Delon and Belmondo are not incidental presences in a large ensemble: the film is organised around the tension, humour and friendship generated by their pairing.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eJacques Deray\u003c\/strong\u003e, who had already directed Delon in \u003cem\u003e\u003cstrong\u003eLa Piscine\u003c\/strong\u003e\u003c\/em\u003e, was well suited to this mixture of star charisma, criminal intrigue and polished visual storytelling. \u003cem\u003eBorsalino\u003c\/em\u003e moves between the pleasures of a period adventure and the increasingly serious consequences of its characters’ ambitions. Its production combines carefully styled costumes, a recognisable urban setting and an emphasis on the relationship between the two leads. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe Japanese campaign makes that pairing its principal selling point. Rather than treating the film simply as another gangster story, it presents the meeting of its two stars as an event in itself.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThat emphasis is particularly effective in this STB. The oversized portraits establish the personalities first; the street action and smaller vignette then suggest the world surrounding them. \u003cstrong\u003eStar presence leads the design, while narrative detail rewards a closer look.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eThe title, the hats and the film’s sense of style\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe name \u003cstrong\u003eBorsalino\u003c\/strong\u003e comes from the celebrated \u003cstrong\u003eItalian hatmaker\u003c\/strong\u003e, whose name became the title of the 1970 film. That connection makes headwear more than a incidental costume detail: it is part of the film’s identity and its association with period elegance. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis Japanese poster gives that idea remarkable prominence. A \u003cstrong\u003ebroad-brimmed felt hat with a striped ribbon\u003c\/strong\u003e occupies much of the upper-left area, while a \u003cstrong\u003epale flat cap\u003c\/strong\u003e projects across the foreground. Together with the cigars, tailored jackets, shirt collars and ties, these details establish a world in which appearance is part of authority.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe design is stylish without becoming static. Beneath the carefully composed portraits, the smaller running figures introduce physical energy and a note of mischief. \u003cstrong\u003eElegance and action remain in balance\u003c\/strong\u003e, just as the campaign’s copy promises.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003ePoster design\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe upper sheet is dominated by \u003cstrong\u003etwo enormous, overlapping portraits\u003c\/strong\u003e, their warm photographic colouring set against a cool, dark background. The contrast between the two hats creates a strong arrangement of shapes, while the cigars reinforce the film’s underworld atmosphere.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eBehind them, \u003cstrong\u003estreet lights and a nocturnal city scene\u003c\/strong\u003e provide texture without competing with the faces. The blue-grey background gradually softens into the pale area below, allowing the upper portrait montage to merge naturally with the lower composition.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe Japanese title, \u003cstrong\u003e「ボルサリーノ」\u003c\/strong\u003e, is spectacular. Printed in \u003cstrong\u003elarge, angular red katakana\u003c\/strong\u003e, it descends through the left-hand side, extending across the two sheets. The lettering is not simply a label placed over the image: it is one of the principal structural elements of the poster.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIts sharp diagonals and generous scale contrast beautifully with the softer photographic transitions around it. The red remains the strongest colour accent throughout, tying the cool upper section to the warmer architectural scene below.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe lower sheet opens into a \u003cstrong\u003elong, narrow street lined with tall façades, shuttered windows and projecting signs\u003c\/strong\u003e. Rendered in warm ochre and sepia tones, the street recedes towards a dark period motorcar. Its perspective gives the composition depth, while the vertical buildings echo the proportions of the STB itself.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIn front of the car, \u003cstrong\u003etwo running figures in contrasting suits\u003c\/strong\u003e bring movement into the otherwise architectural setting. Their placement is particularly effective: relatively small beside the enormous portraits above, they introduce action without weakening the poster’s emphasis on personality and style.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eA \u003cstrong\u003erectangular romantic vignette at lower left\u003c\/strong\u003e, with a pale pink outfit beside dark formalwear, adds another register of colour and mood. At lower right, the elegant \u003cstrong\u003egold-toned “Borsalino” script\u003c\/strong\u003e provides a refined counterpoint to the forceful red Japanese title.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe palette is one of the great pleasures of this design: \u003cstrong\u003escarlet, midnight blue-grey, cream, honeyed brown, pale pink, muted purple and blue\u003c\/strong\u003e. It is colourful without feeling discordant, with each accent assigned a clear role.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eThe original Japanese campaign copy\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe Japanese text adds another layer to the poster’s appeal, preserving exactly how the film was presented to its first local audiences.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAt upper right, the yellow copy begins:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e「マルセイユの暗黒街！」\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e“Marseille’s underworld!”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt then contrasts \u003cstrong\u003e「静」 and 「動」—“stillness” and “action”\u003c\/strong\u003e—before describing two stylish underworld figures joining forces, cigars in their mouths. The wording emphasises complementary personalities rather than treating the protagonists as interchangeable tough guys.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe blue vertical announcement is equally revealing:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e「世界中のファンが待っていた ２大スタアの豪華顔合せ！」\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e“The lavish pairing of two great stars that fans around the world have been waiting for!”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis is the campaign’s central promise: \u003cstrong\u003ethe attraction is not only the gangster story, but the encounter between two major screen personalities\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe stars’ names descend through the composition in muted purple, while the French-language billing \u003cstrong\u003e“JEAN-PAUL BELMONDO et ALAIN DELON”\u003c\/strong\u003e appears above the script title near the bottom. The \u003cstrong\u003eEastmancolor notation, Paramount branding and Japanese recording advertisements\u003c\/strong\u003e complete the original theatrical layout.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eA distinctly Japanese composition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe appeal of this poster lies in the way the Japanese campaign reorganises photographic publicity into a new graphic whole.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe \u003cstrong\u003etowering portraits, enormous vertical katakana, coloured promotional text and extended street perspective\u003c\/strong\u003e work together in a composition designed for the tall Japanese format. Familiar film imagery acquires a different character through its scale, placement and interaction with the lettering.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe STB’s height is especially important. It allows the design to move from \u003cstrong\u003eclose-up portraiture to architecture, action and romance\u003c\/strong\u003e without forcing every element into the same compact space. The large images attract attention from a distance; the lower scenes and campaign details become apparent as the viewer approaches.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eFor collectors of \u003cstrong\u003eAlain Delon, Jean-Paul Belmondo, French crime cinema and Japanese film-poster design\u003c\/strong\u003e, this combination offers considerable appeal. It is original Japanese publicity for a French-Italian production—not a French country-of-origin poster—and its value as a design lies precisely in that distinctive local interpretation.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eThe STB \/ tatekan format\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eJapanese \u003cstrong\u003eSTB \/ tatekan posters\u003c\/strong\u003e are tall, two-panel cinema advertisements. They are normally composed of \u003cstrong\u003etwo B2-sized sheets arranged vertically\u003c\/strong\u003e, creating an image approximately \u003cstrong\u003e51 × 145 cm\u003c\/strong\u003e, with an overlap where the panels meet. Actual dimensions vary slightly between examples. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe format was suited to standing-board displays around cinema entrances and other prominent advertising positions. Unlike a conventional single-sheet poster, a complete STB depends on \u003cstrong\u003eboth sections surviving together\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIts construction also explains the horizontal meeting point visible in the assembled photograph. This is not a tear through one oversized sheet: it is the intended junction between the upper and lower panels.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis example retains \u003cstrong\u003eboth original sections separately and unbacked\u003c\/strong\u003e, allowing the fronts, reverses and individual edges to be examined. The complete vertical composition is a much more unusual presentation than the standard B2 format and gives the design an impressive physical presence.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eVery Good+ to Excellent condition, with strong colour and a beautiful overall presentation.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe \u003cstrong\u003ered title lettering remains vivid\u003c\/strong\u003e, the blue and purple campaign text is clear, and the photographic imagery retains attractive warmth and definition. The dark upper background and golden-toned street scene continue to provide the contrasts that make this design so effective.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThere are \u003cstrong\u003elight handling creases, small pinholes, very minor edge nicks and short tears\u003c\/strong\u003e. \u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThese characteristics are reflected in the \u003cstrong\u003eVery Good+ to Excellent grade\u003c\/strong\u003e. This is not being presented as an unused or Near Mint example; its strengths are the \u003cstrong\u003ecomplete artwork, rich colour, impressive scale and strong visual presentation\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe principal portrait imagery, enormous Japanese title and lower street montage remain the dominant features when the poster is viewed as a whole. The minor physical wear does not overwhelm the composition.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003ePlease review the photographs carefully, as they show the \u003cstrong\u003eexact poster offered for sale\u003c\/strong\u003e, including both sections and their reverses. \u003cstrong\u003eOnce framed as a complete STB, it will present beautifully.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eAuthentication\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eGuaranteed original Japanese first-release theatrical poster for \u003cem\u003eBorsalino\u003c\/em\u003e, 1970.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eComplete in \u003cstrong\u003etwo original STB \/ tatekan sections\u003c\/strong\u003e, retaining the period Japanese campaign typography, Paramount distribution mark, Eastmancolor notation, production and music credits, and printed \u003cstrong\u003eEirin number 45173\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eNot a reproduction, modern reprint or later commemorative poster.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eA rare and exceptionally stylish piece of original French-cinema publicity in its Japanese form—combining a celebrated star pairing, striking colour and typography, and the imposing scale of the STB format.\u003c\/strong\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":57288888451450,"sku":null,"price":575.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/man-standing-in-front-of-gallery-wall_10_273bef83-0837-4dad-8361-8e0c643902c4.jpg?v=1789974445","url":"https:\/\/japanposter.co.uk\/products\/borsalino-%e3%83%9c%e3%83%ab%e3%82%b5%e3%83%aa%e3%83%bc%e3%83%8e-original-first-release-japanese-movie-poster-1970-rare-alain-delon-jean-paul-belmondo-design-stb-tatekan-size-c-51-145-cm-o839","provider":"Japan Poster Shop","version":"1.0","type":"link"}