{"product_id":"colors-カラーズ-天使の消えた街-original-japanese-movie-poster-1988-b2-size-51-73-cm-g280","title":"“Colors” \/ 「カラーズ 天使の消えた街」, Original Japanese Movie Poster 1988, B2 Size (51 × 73 cm) G280","description":"\u003cp data-start=\"95\" data-end=\"325\" class=\"PDq2pG_selectionAnchorContainer\"\u003eThis is an \u003cstrong data-start=\"106\" data-end=\"148\"\u003eoriginal Japanese B2 theatrical poster\u003c\/strong\u003e printed for the 1988 Japanese release of \u003cstrong data-start=\"190\" data-end=\"217\"\u003eColors \/ 「カラーズ 天使の消えた街」\u003c\/strong\u003e, Dennis Hopper’s uncompromising Los Angeles police and gang drama starring \u003cstrong data-start=\"293\" data-end=\"324\"\u003eSean Penn and Robert Duvall\u003c\/strong\u003e.\u003cspan aria-hidden=\"true\" class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"327\" data-end=\"450\"\u003eThe Japanese subtitle, \u003cstrong data-start=\"350\" data-end=\"387\"\u003eTenshi no Kieta Machi \/ 「天使の消えた街」\u003c\/strong\u003e, may be translated as \u003cstrong data-start=\"410\" data-end=\"450\"\u003e“The City Where Angels Disappeared.”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"452\" data-end=\"715\"\u003eReleased during a period of intense public concern surrounding gang violence in Los Angeles, \u003cem data-start=\"545\" data-end=\"553\"\u003eColors\u003c\/em\u003e attracted considerable international attention for its stark depiction of street policing, territorial conflict, and the violent rivalry between competing gangs.\u003c\/p\u003e\n\u003cp data-start=\"717\" data-end=\"736\"\u003e\u003cstrong data-start=\"717\" data-end=\"736\"\u003eFilm background\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"738\" data-end=\"896\"\u003eThe film follows two Los Angeles police officers assigned to the LAPD’s \u003cstrong data-start=\"810\" data-end=\"862\"\u003eCommunity Resources Against Street Hoodlums unit\u003c\/strong\u003e, commonly known as \u003cstrong data-start=\"882\" data-end=\"896\"\u003eC.R.A.S.H.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"898\" data-end=\"1106\"\u003e\u003cstrong data-start=\"898\" data-end=\"912\"\u003eBob Hodges\u003c\/strong\u003e, played by Robert Duvall, is an experienced officer who believes that effective policing depends upon patience, local knowledge, and personal relationships within the neighbourhoods he patrols.\u003c\/p\u003e\n\u003cp data-start=\"1108\" data-end=\"1276\"\u003eHis new partner, \u003cstrong data-start=\"1125\" data-end=\"1142\"\u003eDanny McGavin\u003c\/strong\u003e, played by Sean Penn, is considerably younger, more aggressive, and eager to impose authority through confrontation and intimidation.\u003c\/p\u003e\n\u003cp data-start=\"1278\" data-end=\"1594\"\u003eThe two officers are assigned to areas affected by the escalating conflict between the \u003cstrong data-start=\"1365\" data-end=\"1413\"\u003eBloods, the Crips, and Hispanic street gangs\u003c\/strong\u003e. As they investigate a series of violent incidents, their opposing approaches to law enforcement repeatedly bring them into conflict with the community, the gangs, and one another.\u003c\/p\u003e\n\u003cp data-start=\"1596\" data-end=\"1926\"\u003eRather than presenting a straightforward action film, \u003cem data-start=\"1650\" data-end=\"1658\"\u003eColors\u003c\/em\u003e examines the pressures placed upon police officers working within deeply divided neighbourhoods. It also explores cycles of retaliation, institutional force, masculinity, loyalty, and the difficulty of distinguishing between maintaining order and escalating violence.\u003c\/p\u003e\n\u003cp data-start=\"1928\" data-end=\"2057\"\u003eThe film was directed by \u003cstrong data-start=\"1953\" data-end=\"1970\"\u003eDennis Hopper\u003c\/strong\u003e, from a screenplay by \u003cstrong data-start=\"1993\" data-end=\"2013\"\u003eMichael Schiffer\u003c\/strong\u003e, with music composed by \u003cstrong data-start=\"2038\" data-end=\"2056\"\u003eHerbie Hancock\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp data-start=\"2059\" data-end=\"2087\"\u003eThe principal cast includes:\u003c\/p\u003e\n\u003cp data-start=\"2089\" data-end=\"2187\"\u003e\u003cstrong data-start=\"2089\" data-end=\"2187\"\u003eSean Penn\u003cbr data-start=\"2100\" data-end=\"2103\"\u003eRobert Duvall\u003cbr data-start=\"2116\" data-end=\"2119\"\u003eMaria Conchita Alonso\u003cbr data-start=\"2140\" data-end=\"2143\"\u003eRandy Brooks\u003cbr data-start=\"2155\" data-end=\"2158\"\u003eDon Cheadle\u003cbr data-start=\"2169\" data-end=\"2172\"\u003eGlenn Plummer\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"2189\" data-end=\"2317\"\u003eThe film also became closely associated with its influential hip-hop soundtrack, particularly \u003cstrong data-start=\"2283\" data-end=\"2317\"\u003eIce-T’s title track, “Colors.”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"2319\" data-end=\"2336\"\u003e\u003cstrong data-start=\"2319\" data-end=\"2336\"\u003ePoster design\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"2338\" data-end=\"2486\"\u003eThis Japanese poster adapts the film’s principal American campaign photography into a far more confrontational and editorial Japanese-market design.\u003c\/p\u003e\n\u003cp data-start=\"2488\" data-end=\"2719\"\u003eThe central image depicts a police officer standing in the street with his back towards the viewer. Before him, five detained men kneel against a wall covered in dense, multicoloured graffiti, their hands placed behind their heads.\u003c\/p\u003e\n\u003cp data-start=\"2721\" data-end=\"2879\"\u003eThe officer’s upright silhouette dominates the foreground, creating a visual division between institutional authority and the men positioned against the wall.\u003c\/p\u003e\n\u003cp data-start=\"2881\" data-end=\"3140\"\u003eThe upper section of the photograph is interrupted by a dramatic \u003cstrong data-start=\"2946\" data-end=\"2992\"\u003ejagged black-and-white brushstroke graphic\u003c\/strong\u003e. This rough, torn treatment gives the composition an urgent, almost documentary quality while suggesting violence, rupture, and social instability.\u003c\/p\u003e\n\u003cp data-start=\"3142\" data-end=\"3194\"\u003eAt the bottom, two square portraits flank the title:\u003c\/p\u003e\n\u003cp data-start=\"3196\" data-end=\"3258\"\u003e\u003cstrong data-start=\"3196\" data-end=\"3209\"\u003eSean Penn\u003c\/strong\u003e, wearing dark sunglasses, appears at lower left.\u003c\/p\u003e\n\u003cp data-start=\"3260\" data-end=\"3352\"\u003e\u003cstrong data-start=\"3260\" data-end=\"3277\"\u003eRobert Duvall\u003c\/strong\u003e, shown with a severe and contemplative expression, appears at lower right.\u003c\/p\u003e\n\u003cp data-start=\"3354\" data-end=\"3508\"\u003eTheir contrasting portraits reinforce the central tension between the film’s two police officers and their fundamentally different approaches to policing.\u003c\/p\u003e\n\u003cp data-start=\"3510\" data-end=\"3551\"\u003eThe yellow headline across the top reads:\u003c\/p\u003e\n\u003cp data-start=\"3553\" data-end=\"3601\"\u003e\u003cstrong data-start=\"3553\" data-end=\"3601\"\u003e「ロス全域で《仁義なき戦い》！世界一の暴力多発地域に噴出する新たなる暴力《カラーズ》！」\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"3603\" data-end=\"3629\"\u003eThis may be translated as:\u003c\/p\u003e\n\u003cp data-start=\"3631\" data-end=\"3784\"\u003e\u003cstrong data-start=\"3631\" data-end=\"3784\"\u003e“A ‘Battle Without Honour or Humanity’ across all of Los Angeles! A new form of violence—‘Colors’—erupts in one of the world’s most violent regions!”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"3786\" data-end=\"4025\"\u003eThe reference to \u003cstrong data-start=\"3803\" data-end=\"3853\"\u003e「仁義なき戦い」 \/ Battles Without Honour and Humanity\u003c\/strong\u003e deliberately evokes Kinji Fukasaku’s celebrated Japanese yakuza film series, positioning \u003cem data-start=\"3943\" data-end=\"3951\"\u003eColors\u003c\/em\u003e as an American urban counterpart to those brutally realistic crime films.\u003c\/p\u003e\n\u003cp data-start=\"4027\" data-end=\"4070\"\u003eThe enormous white diagonal headline reads:\u003c\/p\u003e\n\u003cp data-start=\"4072\" data-end=\"4090\"\u003e\u003cstrong data-start=\"4072\" data-end=\"4090\"\u003e「全米で上映禁止運動続発！」\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"4092\" data-end=\"4103\"\u003eTranslated:\u003c\/p\u003e\n\u003cp data-start=\"4105\" data-end=\"4171\"\u003e\u003cstrong data-start=\"4105\" data-end=\"4171\"\u003e“Movements to ban screenings spread across the United States!”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"4173\" data-end=\"4358\"\u003eThis emphatic line highlights the controversy surrounding the film’s American release, during which concerns were raised that screenings might provoke or intensify actual gang conflict.\u003c\/p\u003e\n\u003cp data-start=\"4360\" data-end=\"4375\"\u003eThe main title:\u003c\/p\u003e\n\u003cp data-start=\"4377\" data-end=\"4387\"\u003e\u003cstrong data-start=\"4377\" data-end=\"4387\"\u003e「カラーズ」\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"4389\" data-end=\"4481\"\u003eappears in enormous, sharply rendered \u003cstrong data-start=\"4427\" data-end=\"4456\"\u003ered brush-style lettering\u003c\/strong\u003e across the lower centre.\u003c\/p\u003e\n\u003cp data-start=\"4764\" data-end=\"4961\"\u003eThe result is a particularly forceful example of late-1980s Japanese film advertising, combining documentary-style photography, sensational news-inspired headlines, and aggressive brush typography.\u003c\/p\u003e\n\u003cp data-start=\"4963\" data-end=\"4979\"\u003e\u003cstrong data-start=\"4963\" data-end=\"4979\"\u003eRelease note\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"4981\" data-end=\"5069\"\u003e\u003cem data-start=\"4981\" data-end=\"4989\"\u003eColors\u003c\/em\u003e was released in \u003cstrong data-start=\"5006\" data-end=\"5014\"\u003e1988\u003c\/strong\u003e and distributed internationally by \u003cstrong data-start=\"5050\" data-end=\"5068\"\u003eOrion Pictures\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp data-start=\"5071\" data-end=\"5374\"\u003eThe film became a commercial success and attracted extensive media coverage for its depiction of gang culture and confrontational police tactics. Its American theatrical release was accompanied by protests, security concerns, and public debate over whether the film might inflame existing gang tensions.\u003c\/p\u003e\n\u003cp data-start=\"5376\" data-end=\"5462\"\u003eThis poster was printed for the film’s \u003cstrong data-start=\"5415\" data-end=\"5461\"\u003eoriginal 1988 Japanese theatrical campaign\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp data-start=\"5464\" data-end=\"5534\"\u003eIt is a standard Japanese \u003cstrong data-start=\"5490\" data-end=\"5508\"\u003eB2-size poster\u003c\/strong\u003e, measuring approximately:\u003c\/p\u003e\n\u003cp data-start=\"5536\" data-end=\"5575\"\u003e\u003cstrong data-start=\"5536\" data-end=\"5575\"\u003e51.5 × 72.8 cm \/ 20.3 × 28.7 inches\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"5577\" data-end=\"5677\"\u003eIt is an \u003cstrong data-start=\"5586\" data-end=\"5628\"\u003eoriginal period Japanese cinema poster\u003c\/strong\u003e, not a later reproduction or commercial reprint.\u003c\/p\u003e\n\u003cp data-start=\"5679\" data-end=\"5692\"\u003e\u003cstrong data-start=\"5679\" data-end=\"5692\"\u003eCondition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"5694\" data-end=\"5888\"\u003e\u003cstrong data-start=\"5694\" data-end=\"5730\"\u003eVery Good \/ Excellent condition.\u003c\/strong\u003e A strong and highly presentable example, retaining bold black, red, yellow, and blue colour, clear photographic detail, and excellent overall display impact.\u003c\/p\u003e\n\u003cp data-start=\"5890\" data-end=\"6129\"\u003eThere are light signs of age and handling, including minor surface marks and horizontal handling lines consistent with an original theatrical poster from this period. These do not materially detract from the poster’s striking presentation.\u003c\/p\u003e\n\u003cp data-start=\"6131\" data-end=\"6151\"\u003e\u003cstrong data-start=\"6131\" data-end=\"6151\"\u003eReference: G280.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"6153\" data-end=\"6231\"\u003ePlease review the photograph carefully, as it shows the exact poster for sale.\u003c\/p\u003e\n\u003cp data-start=\"6233\" data-end=\"6373\"\u003eThis is an \u003cstrong data-start=\"6244\" data-end=\"6327\"\u003eoriginal Japanese theatrical poster from the film’s first-release 1988 campaign\u003c\/strong\u003e.\u003cbr data-start=\"6328\" data-end=\"6331\"\u003eIt is \u003cstrong data-start=\"6337\" data-end=\"6372\"\u003enot a reproduction or a reprint\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp data-start=\"6375\" data-end=\"6407\"\u003e\u003cstrong data-start=\"6375\" data-end=\"6407\"\u003eIt is now over 35 years old.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"6409\" data-end=\"6450\" data-is-last-node=\"\" data-is-only-node=\"\"\u003e\u003cstrong data-start=\"6409\" data-end=\"6450\" data-is-last-node=\"\"\u003eCertificate of Authenticity included.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":57089399521658,"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-2026-07-20T161932.457.jpg?v=1784532141","url":"https:\/\/japanposter.co.uk\/products\/colors-%e3%82%ab%e3%83%a9%e3%83%bc%e3%82%ba-%e5%a4%a9%e4%bd%bf%e3%81%ae%e6%b6%88%e3%81%88%e3%81%9f%e8%a1%97-original-japanese-movie-poster-1988-b2-size-51-73-cm-g280","provider":"Japan Poster Shop","version":"1.0","type":"link"}