{"product_id":"floating-weeds-浮草-ukigusa-original-release-japanese-movie-poster-1959-yasujiro-ozu-ultra-rare-speed-size-26-x-73cm-k332-copy-2","title":"“Floating Weeds” (浮草, Ukigusa), Original Japanese First-Release Movie Poster 1959, Yasujirō Ozu, Ultra Rare, Speed Size (c. 26 × 73 cm) T282","description":"\u003cp data-pm-slice=\"1 1 []\"\u003e\u003cspan\u003eAn exceptional \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eoriginal 1959 Japanese first-release Speed poster\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e for \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eFloating Weeds\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, one of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eYasujirō Ozu’s most beautiful colour films\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. Produced by Daiei, the film brings together \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eGanjirō Nakamura, Machiko Kyō, Ayako Wakao, Hiroshi Kawaguchi, and Haruko Sugimura\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e in a poignant story of travelling performers, family secrets, jealousy, and reconciliation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe elegant, narrow composition combines \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003elarge photographic portraits, a seaside setting, and sweeping green title calligraphy\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. Its pale blue background, warm skin tones, patterned costumes, and red accents create a particularly attractive expression of the film’s rich visual world.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis example also retains its extensively printed reverse, identified as \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eDaiei Press Sheet No. 868\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. Combining a colour display poster with illustrated studio publicity material, it offers considerable interest as both a work of theatrical advertising and a document of the film’s original release.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eDate \u0026amp; Japanese Theatrical Release\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan\u003eFloating Weeds\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e opened in Japan on \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e17 November 1959\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, produced and distributed by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eDaiei\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis is an \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eoriginal first-release Japanese poster\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, issued for that theatrical campaign. The front carries the Daiei emblem, the studio’s colour announcement, and the original cast and production credits. The reverse preserves the corresponding press material issued by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eDaiei’s head-office publicity department\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMeasuring approximately \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e26 × 73 cm\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, the Speed format offers a distinctive vertical presentation—roughly half the width of a standard Japanese B2 poster at a similar height.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThe Film \u0026amp; Its Place in Ozu’s Cinema\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWritten by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eYasujirō Ozu and Kōgo Noda\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eFloating Weeds\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e revisits Ozu’s own \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e1934 silent film, A Story of Floating Weeds\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, a quarter-century later. The new version places the story in a small seaside town and brings sound, colour, and a different ensemble of performers to its enduring themes.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eGanjirō Nakamura plays Komajūrō\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, the leader of a travelling theatre troupe. Returning to a town where he once had a relationship with \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eOyoshi, played by Haruko Sugimura\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, he renews contact with their son \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eKiyoshi, played by Hiroshi Kawaguchi\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. The young man has grown up believing that Komajūrō is his uncle.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWhen Komajūrō’s current companion \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eSumiko, played by Machiko Kyō\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, discovers his secret, jealousy leads her to enlist the young actress \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eKayo, played by Ayako Wakao\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, in a plan to seduce Kiyoshi. The resulting relationships expose the contradictions between parental affection, possessiveness, pride, and the wish to give the next generation a different life.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe cast also includes \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eHitomi Nozoe, Chishū Ryū, and Kōji Mitsui\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, bringing together prominent Daiei performers with actors familiar from Ozu’s wider body of work.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe title evokes the drifting existence of the travelling players: people carried from place to place, whose attempts to establish lasting attachments remain vulnerable to circumstance. Ozu gives this uncertain world both humour and emotional weight, allowing everyday gestures and conversations to reveal feelings that the characters struggle to express.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOzu, Kazuo Miyagawa \u0026amp; the Film’s Legacy\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan\u003eFloating Weeds\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e occupies a distinctive place in Ozu’s career. Made at \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eDaiei\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, away from his regular studio \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eShōchiku\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, it was his \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eonly collaboration with cinematographer Kazuo Miyagawa\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, whose work also includes \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eRashomon\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eUgetsu\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTheir partnership produced a film of remarkable visual richness. Carefully arranged interiors, vivid costume details, coastal light, and the famous confrontation across a rain-soaked street give colour an expressive role within Ozu’s precise compositions.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOne of the director’s \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003esix colour features\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eFloating Weeds\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e is admired as a major achievement of his late career. Its beauty serves an intimate human drama: the luminous setting and theatrical costumes accompany a story of disappointment, affection, and the compromises through which people continue their lives.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor collectors, original release material provides a direct connection to this exceptional meeting of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eOzu’s direction, Miyagawa’s cinematography, and Daiei’s celebrated performers\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eDesign Notes\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eSweeping green title calligraphy:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e The two characters \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e浮草\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e dominate the upper-right section in deep green with a pale outline. Their expressive brush forms give the composition movement while preserving a restrained, distinctly Japanese elegance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eHiroshi Kawaguchi and Ayako Wakao:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e The large portraits of the younger leads occupy the upper and central portions of the sheet. Their arrangement introduces the romantic relationship that becomes central to the film’s family conflict.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eMachiko Kyō’s straw-hat portrait:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Kyō fills the lower-right section beneath a broad woven hat. Her red lips, pale costume, and expressive gaze provide one of the poster’s most memorable images.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThe wider ensemble:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Smaller full-length images of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eGanjirō Nakamura and Hitomi Nozoe\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e appear at lower left, adding variety of scale and broadening the cast presentation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eA coastal setting:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e The weathered boat, blue sky, and stretch of water establish the seaside atmosphere. These elements give the portraits a sense of place while leaving room for the title and promotional lettering.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eColour and costume:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e The rich green title, restrained red printing, blue background, and delicately patterned clothing create a harmonious palette. The design captures something of the film’s visual appeal without overwhelming its human subjects.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eDaiei Colour \u0026amp; the Original Japanese Release Pitch\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe red announcement at upper left reads:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e「大映カラー　総天然色」\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003e“Daiei Colour — Full Colour.”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis places colour prominently within the campaign, an especially meaningful feature for a film celebrated for its cinematography.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe vertical copy along the left begins:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e「名匠小津安二郎が愛と微笑の心でうたいあげた人生の真実！」\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003e“Master director Yasujirō Ozu expresses the truth of life with love and a smile!”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe wording promotes Ozu’s reputation and the film’s emotional warmth. The accompanying text promises a substantial drama filled with poignancy and feeling.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe front also carries:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e「芸術祭参加作品」\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003e“An Arts Festival entry.”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTogether with the studio emblem and credits, these details preserve the original campaign’s emphasis on \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eartistic distinction, human drama, and colour photography\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThe Printed Reverse — Daiei Press Sheet No. 868\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe reverse is an especially appealing feature of this example. Printed in black and white, it contains \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ecast and crew listings, story and production information, promotional copy, illustrated portraits, and multiple title treatments\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe publisher’s line reads:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e“DAIEI PRESS SHEET No. 868”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e「大映本社宣伝部発行」\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003e“Issued by Daiei’s head-office publicity department.”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA photographic panel shows the younger characters beside a boat, while the surrounding illustrations and lettering provide material suited to local publicity. The range of title sizes, portraits, and studio emblems demonstrates how the film’s visual identity could be adapted for different advertisements.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis printed reverse gives the piece an additional historical dimension: it preserves the practical material used to introduce and promote \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eFloating Weeds\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e to its original audience.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eAbout Speed Posters \u0026amp; Collector Significance\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJapanese \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eSpeed posters\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e are narrow vertical sheets, well suited to display where wall space was limited. This example’s \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eapproximately 26 × 73 cm\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e proportions give the cast portraits and calligraphic title a particularly graceful arrangement.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHere, the format serves a dual purpose: \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ecolour theatrical artwork on the front and a detailed press sheet on the reverse\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. Both sides form part of the original publicity object.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFirst-release paper for Ozu’s major films is highly desirable, and this \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eultra-rare Speed-format example\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e brings together distinctive artwork, original Daiei branding, and a substantial body of contemporary promotional material.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eCondition Report\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eExcellent.\u003cbr\u003e\u003cbr\u003eThe poster presents beautifully for its age, with \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003estrong colour, clear photographic detail, and an attractive overall appearance\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eFolds and handling:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Original horizontal fold lines remain visible, with light associated wear, some creasing, and small areas of surface rubbing along the folds.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eEdges and paper:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e There is minor edge and corner wear, together with gentle age toning to the paper.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eColour and display:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e The \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003egreen title, blue background, red accents, and warm portrait colours\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e retain considerable visual appeal. The principal faces and calligraphy remain especially effective within the narrow composition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003ePrinted reverse:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e The press-sheet material remains clearly visible, with fold impressions, age toning, and light handling marks consistent with the front.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePlease review both supplied photographs carefully, as they show the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eexact poster and its original printed reverse\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis is an \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eoriginal Japanese first-release Speed poster and Daiei press sheet from 1959\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eIt is \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003enot a reproduction or a reprint\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eIt is \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eover 65 years old\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eA Certificate of Authenticity is included.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":57483337138554,"sku":null,"price":850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/wall-shelf-with-ornaments-2026-10-29T084915.856.jpg?v=1793231409","url":"https:\/\/japanposter.co.uk\/products\/floating-weeds-%e6%b5%ae%e8%8d%89-ukigusa-original-release-japanese-movie-poster-1959-yasujiro-ozu-ultra-rare-speed-size-26-x-73cm-k332-copy-2","provider":"Japan Poster Shop","version":"1.0","type":"link"}