{"product_id":"fantomas-contre-scotland-yard-ファントマ-ミサイル作戦-original-release-japanese-movie-poster-1967-b2-size-51-73-cm-b269-copy","title":"“Fantômas” \/ 「ファントマ 危機脱出」, Original Japanese First-Release Movie Poster 1965, Jean Marais \/ Louis de Funès \/ Mylène Demongeot, B2 Size (51 × 73 cm)","description":"\u003cdiv class=\"qMYqUG_convSearchResultHighlightRoot\"\u003e\n\u003cdiv class=\"\"\u003e\n\u003csection class=\"text-token-text-primary w-full focus:outline-none has-data-writing-block:pointer-events-none [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto R6Vx5W_threadScrollVars scroll-mb-[calc(var(--scroll-root-safe-area-inset-bottom,0px)+var(--thread-response-height))] scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\" dir=\"auto\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-10 [--thread-content-margin:var(--thread-content-margin-xs,calc(var(--spacing)*4))] @w-sm\/main:[--thread-content-margin:var(--thread-content-margin-sm,calc(var(--spacing)*6))] @w-lg\/main:[--thread-content-margin:var(--thread-content-margin-lg,calc(var(--spacing)*16))] px-(--thread-content-margin)\"\u003e\n\u003cdiv class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col gap-4 grow\"\u003e\n\u003cdiv dir=\"auto\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal outline-none keyboard-focused:focus-ring [.text-message+\u0026amp;]:mt-1\" tabindex=\"0\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden\"\u003e\n\u003cdiv class=\"markdown prose dark:prose-invert wrap-break-word w-full light markdown-new-styling\"\u003e\n\u003cp dir=\"auto\"\u003eThis is an \u003cstrong\u003eoriginal Japanese B2 theatrical poster\u003c\/strong\u003e printed for the \u003cstrong\u003e1965 first Japanese release of \u003cem\u003eFantômas\u003c\/em\u003e\u003c\/strong\u003e, released in Japan under the title \u003cstrong\u003e「ファントマ 危機脱出」\u003c\/strong\u003e. Directed by \u003cstrong\u003eAndré Hunebelle\u003c\/strong\u003e and starring \u003cstrong\u003eJean Marais\u003c\/strong\u003e, \u003cstrong\u003eLouis de Funès\u003c\/strong\u003e, and \u003cstrong\u003eMylène Demongeot\u003c\/strong\u003e, the film was produced in 1964 and opened theatrically in Japan on \u003cstrong\u003e13 February 1965\u003c\/strong\u003e, distributed by \u003cstrong\u003eTowa\u003c\/strong\u003e. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe film launched Hunebelle’s celebrated three-film \u003cstrong\u003eFantômas\u003c\/strong\u003e cycle of the 1960s, followed by \u003cem\u003eFantômas se déchaîne\u003c\/em\u003e and \u003cem\u003eFantômas contre Scotland Yard\u003c\/em\u003e. Combining \u003cstrong\u003ecrime thriller, spy adventure, extravagant action and broad comedy\u003c\/strong\u003e, the series transformed the sinister literary master criminal into one of the most flamboyant figures of European popular cinema.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eFilm background\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eBased on the legendary criminal mastermind created by \u003cstrong\u003eMarcel Allain and Pierre Souvestre\u003c\/strong\u003e, \u003cem\u003eFantômas\u003c\/em\u003e follows journalist \u003cstrong\u003eFandor\u003c\/strong\u003e, played by Jean Marais, after his sensational reporting draws the attention of the seemingly omnipotent criminal Fantômas.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eMarais performs a memorable dual role as both \u003cstrong\u003eFandor and Fantômas\u003c\/strong\u003e, while \u003cstrong\u003eLouis de Funès\u003c\/strong\u003e plays the excitable and increasingly exasperated \u003cstrong\u003eCommissaire Juve\u003c\/strong\u003e, whose attempts to capture the master criminal provide much of the film’s comedy. \u003cstrong\u003eMylène Demongeot\u003c\/strong\u003e stars as Hélène, Fandor’s photographer companion and romantic partner.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe story moves rapidly through disguises, kidnappings and increasingly elaborate pursuits, culminating in a succession of spectacular chases involving \u003cstrong\u003ecars, motorcycles, trains, helicopters, motorboats and a submarine\u003c\/strong\u003e. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eHunebelle’s film established the formula that would define the trilogy: the elegance and mystery of Fantômas, the straight-faced heroism of Jean Marais and the extraordinary comic energy of Louis de Funès.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003ePoster design\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis Japanese first-release B2 is a wonderfully distinctive example of \u003cstrong\u003emid-1960s Japanese pop-art-influenced movie advertising\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eRather than relying upon a conventional painted portrait or densely packed photographic montage, the design uses \u003cstrong\u003elarge areas of cream negative space\u003c\/strong\u003e, isolated photographic cut-outs and enormous multicoloured Japanese typography.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAcross the upper half, the title:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eファントマ\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eis broken into huge abstract characters in \u003cstrong\u003ered, ochre, violet, pink and orange\u003c\/strong\u003e, giving the sheet a playful, almost modernist quality. Beneath it, the subtitle:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e危機脱出\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eappears in bold black and grey characters.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe title treatment is especially effective because it reflects the film’s mixture of menace and comedy. The typography is oversized and slightly chaotic, while the surrounding photographic elements seem almost to float independently across the page.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAt the very top, a \u003cstrong\u003elarge black silhouetted hand\u003c\/strong\u003e reaches downward into the composition, immediately suggesting theft, manipulation and the unseen presence of Fantômas.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAt upper right appears the unmistakable \u003cstrong\u003emask-like face of Fantômas\u003c\/strong\u003e, incorporated directly into the French-language billing:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eJEAN MARAIS\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eLOUIS DE FUNES\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eMYLENE DEMONGEOT\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eFANTOMAS\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eUN FILM DE ANDRÉ HUNEBELLE\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe original \u003cstrong\u003eTOWA\u003c\/strong\u003e distribution logo appears immediately alongside it, an important period detail confirming the poster’s Japanese first-release campaign.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eBelow, the poster explodes into a series of wonderfully eccentric action images.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eA helicopter banks dramatically across the right side while a figure hangs suspended beneath it. \u003cstrong\u003eJean Marais\u003c\/strong\u003e appears both in mid-air and again in a large lower portrait, reinforcing the film’s relentless chase structure.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAt lower left, \u003cstrong\u003eMylène Demongeot\u003c\/strong\u003e is shown smiling with her camera, identifying Hélène visually as the photojournalist who accompanies Fandor.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAlong the very bottom, additional action imagery—including coastal scenery, boats and \u003cstrong\u003eLouis de Funès as Juve\u003c\/strong\u003e—creates a miniature cinematic panorama beneath the otherwise sparse design.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eJapanese campaign copy\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe pink promotional line across the lower-middle section reads:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e「手に汗にぎる迫力！常識破りの面白さ！\u003cbr\u003eスリルいっぱいの超大型アクション！」\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eApproximately:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e“Palm-sweating excitement! Outrageously unconventional fun!\u003cbr\u003eA gigantic action spectacle packed with thrills!”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe copy perfectly captures how the film was marketed in Japan: not simply as a European crime picture, but as a colourful, oversized \u003cstrong\u003einternational action-comedy event\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eImmediately above it, the Japanese cast billing highlights:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eジャン・マレー\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eルイ・ド・フュネス\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eミレーヌ・ドモンジョ\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003efollowed by:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e名匠アンドレ・ユヌベル監督\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e— identifying Hunebelle as the film’s celebrated director.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe poster also advertises the production in \u003cstrong\u003eフランスコープ (Franscope)\u003c\/strong\u003e and full colour, reinforcing the scale and spectacle being promised to contemporary Japanese audiences.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eThe 1960s Fantômas phenomenon\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe character of Fantômas originated much earlier, in the extraordinarily successful crime novels created by \u003cstrong\u003eMarcel Allain and Pierre Souvestre\u003c\/strong\u003e beginning in the early 20th century.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eBy the 1960s, Hunebelle reconceived the character for an era fascinated by \u003cstrong\u003eJames Bond, international espionage, futuristic gadgets and glamorous European adventure cinema\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe result is a peculiar but highly entertaining hybrid.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eFantômas himself remains genuinely sinister—an emotionless masked criminal capable of changing identities almost at will—while Louis de Funès pushes the surrounding police procedural into increasingly frantic comedy.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe success of the first film led directly to two sequels, making the trilogy one of the most recognisable French popular-cinema series of the decade. The Japanese first film was released on \u003cstrong\u003e13 February 1965\u003c\/strong\u003e, with Towa handling domestic distribution. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eExcellent original condition overall.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003ePlease review all photographs carefully; they show the \u003cstrong\u003eexact poster for sale, front and reverse\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis poster is an \u003cstrong\u003eoriginal Japanese theatrical B2 from the film’s 1965 first-release campaign\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt is \u003cstrong\u003enot a reproduction or a reprint\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt is \u003cstrong\u003eover 60 years old\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eCertificate of Authenticity included.\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/section\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":57280067993978,"sku":null,"price":300.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/wall-shelf-with-ornaments_37_7f47e3a1-ccc8-4cba-b621-e2903909c689.jpg?v=1789706843","url":"https:\/\/japanposter.co.uk\/products\/fantomas-contre-scotland-yard-%e3%83%95%e3%82%a1%e3%83%b3%e3%83%88%e3%83%9e-%e3%83%9f%e3%82%b5%e3%82%a4%e3%83%ab%e4%bd%9c%e6%88%a6-original-release-japanese-movie-poster-1967-b2-size-51-73-cm-b269-copy","provider":"Japan Poster Shop","version":"1.0","type":"link"}