{"product_id":"elevator-to-the-gallows-original-release-japanese-movie-poster-1958-b2-size-51-x-73cm-j178-copy-1","title":"“Elevator to the Gallows” (死刑台のエレベーター), Ultra‑Rare Original Japanese B2 First‑Release Poster — 1958 First Japanese Release (26 September 1958) — approx. 20.3 × 28.7 in (51.5 × 72.8 cm) P253","description":"\u003cp data-end=\"611\" data-start=\"194\"\u003eThis is an \u003cstrong data-end=\"233\" data-start=\"205\"\u003eoriginal Japanese poster\u003c\/strong\u003e printed for the film’s \u003cstrong data-end=\"294\" data-start=\"257\"\u003efirst Japanese theatrical release\u003c\/strong\u003e. Japanese film databases list the local opening as \u003cstrong data-end=\"367\" data-start=\"346\"\u003e26 September 1958.\u003c\/strong\u003e\u003cspan data-state=\"closed\" class=\"\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-end=\"1181\" data-start=\"613\"\u003e\u003cstrong data-end=\"631\" data-start=\"613\"\u003eAbout the film\u003c\/strong\u003e\u003cbr data-end=\"634\" data-start=\"631\"\u003eDirected by \u003cstrong data-end=\"661\" data-start=\"646\"\u003eLouis Malle\u003c\/strong\u003e, adapted by \u003cstrong data-end=\"683\" data-start=\"674\"\u003eMalle\u003c\/strong\u003e and \u003cstrong data-end=\"704\" data-start=\"688\"\u003eRoger Nimier\u003c\/strong\u003e from \u003cstrong data-end=\"726\" data-start=\"710\"\u003eNoël Calef’s\u003c\/strong\u003e novel, and starring \u003cstrong data-end=\"764\" data-start=\"747\"\u003eJeanne Moreau\u003c\/strong\u003e, \u003cstrong data-end=\"783\" data-start=\"766\"\u003eMaurice Ronet\u003c\/strong\u003e, \u003cstrong data-end=\"805\" data-start=\"785\"\u003eGeorges Poujouly\u003c\/strong\u003e, \u003cstrong data-end=\"822\" data-start=\"807\"\u003eYori Bertin\u003c\/strong\u003e, and \u003cstrong data-is-only-node=\"\" data-end=\"844\" data-start=\"828\"\u003eLino Ventura\u003c\/strong\u003e, \u003cstrong data-end=\"873\" data-start=\"846\"\u003eElevator to the Gallows\u003c\/strong\u003e follows an adulterous murder plot that begins as a “perfect crime” and unravels when Julien Tavernier becomes trapped in an elevator after the killing. The film was produced in \u003cstrong data-end=\"1059\" data-start=\"1051\"\u003e1957\u003c\/strong\u003e, released in France on \u003cstrong data-end=\"1102\" data-start=\"1083\"\u003e29 January 1958\u003c\/strong\u003e, and reached Japan later that same year. \u003cspan data-state=\"closed\" class=\"\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-end=\"2040\" data-start=\"1183\"\u003e\u003cstrong data-end=\"1225\" data-start=\"1183\"\u003eThe Film \u0026amp; Its Place in Cinema History\u003c\/strong\u003e\u003cbr data-end=\"1228\" data-start=\"1225\"\u003eThis film occupies a crucial place in postwar French cinema. Zazie Films’ Japanese notes describe it as \u003cstrong data-end=\"1401\" data-start=\"1332\"\u003eLouis Malle’s shocking first solo feature-length directorial work\u003c\/strong\u003e, made when he was just \u003cstrong data-end=\"1431\" data-start=\"1425\"\u003e25\u003c\/strong\u003e, and one that is often said to have helped trigger the \u003cstrong data-end=\"1505\" data-start=\"1487\"\u003eNouvelle Vague\u003c\/strong\u003e. It won the \u003cstrong data-end=\"1544\" data-start=\"1518\"\u003e1957 Prix Louis-Delluc\u003c\/strong\u003e, and Criterion describes it as the astonishing beginning of Malle’s career and a major turning point for \u003cstrong data-end=\"1667\" data-start=\"1650\"\u003eJeanne Moreau\u003c\/strong\u003e, while BFI highlights Moreau’s lonely night walk through Paris as one of French cinema’s most distinctive images. The film is also inseparable from \u003cstrong data-end=\"1833\" data-start=\"1816\"\u003eMiles Davis’s\u003c\/strong\u003e score: Cannes recounts that Davis watched selected scenes, took notes, and then recorded the music overnight in Paris, creating a landmark moment in film-music history. \u003cspan data-state=\"closed\" class=\"\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-end=\"2728\" data-start=\"2042\"\u003e\u003cstrong data-end=\"2078\" data-start=\"2042\"\u003eElevator to the Gallows in Japan\u003c\/strong\u003e\u003cbr data-end=\"2081\" data-start=\"2078\"\u003eThis poster is especially appealing because the Japanese campaign sold the picture as both \u003cstrong data-end=\"2191\" data-start=\"2172\"\u003eprestige cinema\u003c\/strong\u003e and \u003cstrong data-end=\"2215\" data-start=\"2196\"\u003emodern thriller\u003c\/strong\u003e. The top copy hails Malle as the \u003cstrong data-end=\"2273\" data-start=\"2249\"\u003e25-year-old director\u003c\/strong\u003e who poured all his modern sensibility into the film; the side text spotlights \u003cstrong data-end=\"2367\" data-start=\"2352\"\u003eHenri Decaë\u003c\/strong\u003e and \u003cstrong data-end=\"2387\" data-start=\"2372\"\u003eMiles Davis\u003c\/strong\u003e; and the left column trumpets Japanese film-society recommendations alongside the \u003cstrong data-end=\"2492\" data-start=\"2470\"\u003eLouis-Delluc Prize\u003c\/strong\u003e and the soundtrack award mention. It is a wonderful example of how the original Japanese release framed the film not simply as imported noir, but as a major new work of contemporary French culture. \u003cspan data-state=\"closed\" class=\"\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-end=\"3320\" data-start=\"2730\"\u003e\u003cstrong data-end=\"2747\" data-start=\"2730\"\u003ePoster design\u003c\/strong\u003e\u003cbr data-end=\"2750\" data-start=\"2747\"\u003eA spectacular, highly graphic Japanese design transforms the film’s cool monochrome fatalism into a bold piece of late-1950s display art. Enormous gloved hands gripping a pistol dominate the composition under a harsh spotlight; \u003cstrong data-end=\"2995\" data-start=\"2978\"\u003eJeanne Moreau\u003c\/strong\u003e, luminous and anxious on the telephone, anchors the lower right; and the inset crime-scene vignette above adds another layer of suspense. The huge ice-blue Japanese title \u003cstrong data-end=\"3181\" data-start=\"3167\"\u003e死刑台のエレベーター\u003c\/strong\u003e, the elegant French title \u003cstrong data-end=\"3237\" data-start=\"3208\"\u003eAscenseur pour l’échafaud\u003c\/strong\u003e, and the vivid red and cream typography give the sheet tremendous visual presence.\u003c\/p\u003e\n\u003cp data-end=\"3928\" data-start=\"3322\"\u003e\u003cstrong data-end=\"3359\" data-start=\"3322\"\u003eWhy collectors prize this example\u003c\/strong\u003e\u003cbr data-end=\"3362\" data-start=\"3359\"\u003eCollectors respond strongly to this poster because it brings together several enduring points of appeal in one original first-release Japanese sheet: \u003cstrong data-end=\"3544\" data-start=\"3512\"\u003eLouis Malle at the beginning\u003c\/strong\u003e, \u003cstrong data-end=\"3588\" data-start=\"3546\"\u003eJeanne Moreau at the moment of stardom\u003c\/strong\u003e, \u003cstrong data-end=\"3623\" data-start=\"3590\"\u003eMiles Davis’s legendary score\u003c\/strong\u003e, and a striking country-specific design that feels every bit as sophisticated as the film itself. Just as importantly, it preserves the original Japanese theatrical title treatment and the period \u003cstrong data-end=\"3837\" data-start=\"3820\"\u003eUnion \/ Eihai\u003c\/strong\u003e release credit that tie it directly to the 1958 run. \u003cspan data-state=\"closed\" class=\"\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-end=\"4742\" data-start=\"3930\"\u003e\u003cstrong data-end=\"3943\" data-start=\"3930\"\u003eCondition\u003c\/strong\u003e\u003cbr data-end=\"3946\" data-start=\"3943\"\u003e\u003cstrong data-end=\"3984\" data-start=\"3946\"\u003eVery good \/ excellent for its age.\u003c\/strong\u003e Folded as issued, with light wear along the original fold lines and mild stress at a few fold intersections, but nothing that materially detracts from display. There is minor edge and corner wear, including slight rubbing and tiny nicks most noticeable toward the left border and upper edge, plus a small amount of gentle surface\/handling wear visible in places under close inspection. The blank verso shows light, even age toning, fold impressions, and soft show-through from the printed image, but remains generally clean. Most importantly, the front presents beautifully, with \u003cstrong data-end=\"4630\" data-start=\"4565\"\u003erich color, strong contrast, and exceptional display presence\u003c\/strong\u003e for a 1958 Japanese poster. Please review the supplied photographs carefully—shown is the exact poster offered.\u003c\/p\u003e\n\u003cp data-end=\"4786\" data-start=\"4744\"\u003eIt is \u003cstrong data-end=\"4785\" data-start=\"4750\"\u003enot a reproduction or a reprint\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp data-end=\"5098\" data-start=\"4788\"\u003eA rare opportunity to acquire an \u003cstrong data-end=\"4890\" data-start=\"4821\"\u003eoriginal first-release Japanese Elevator to the Gallows B2 poster\u003c\/strong\u003e—a superbly designed 1958 sheet combining \u003cstrong data-end=\"4947\" data-start=\"4932\"\u003eFrench noir\u003c\/strong\u003e, \u003cstrong data-end=\"4980\" data-start=\"4949\"\u003eNouvelle Vague-era prestige\u003c\/strong\u003e, \u003cstrong data-end=\"5002\" data-start=\"4982\"\u003eMiles Davis cool\u003c\/strong\u003e, and one of the great screen images of \u003cstrong data-end=\"5059\" data-start=\"5042\"\u003eJeanne Moreau\u003c\/strong\u003e.\u003c\/p\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":56749735215482,"sku":null,"price":2150.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/wall-shelf-with-ornaments-2026-03-28T131100.917.jpg?v=1774671121","url":"https:\/\/japanposter.co.uk\/products\/elevator-to-the-gallows-original-release-japanese-movie-poster-1958-b2-size-51-x-73cm-j178-copy-1","provider":"Japan Poster Shop","version":"1.0","type":"link"}