{"product_id":"les-quatre-cents-coups-the-400-blows-original-first-japanese-release-stb-tatekan-movie-poster-1960-ultra-rare-hisamitsu-noguchi-stb-size-51-145-cm-copy","title":"“Les Quatre Cents Coups \/ The 400 Blows” (大人は判ってくれない), Ultra-Rare Original Japanese First-Release Movie Poster 1960, Hisamitsu Noguchi, B2 Size (c. 51 × 73 cm) (Gallery)","description":"\u003cdiv class=\"text-base my-auto mx-auto [--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 data-conversation-screenshot-content=\"\" 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 data-message-author-role=\"assistant\" data-message-id=\"5c617835-f1d3-4f1e-8b5c-cdc1a5aa702b\" dir=\"auto\" data-message-model-slug=\"gpt-5-5-pro\" 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\"\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 data-pm-slice=\"1 1 []\"\u003e\u003cspan\u003eAn exceptionally scarce \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eoriginal Japanese B2 poster printed for the first Japanese theatrical release of François Truffaut’s \u003c\/span\u003e\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e\u003cspan\u003eThe 400 Blows\u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e\u003cspan\u003e in 1960\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, featuring the celebrated artwork of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eHisamitsu Noguchi\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn our opinion, this is \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eone of the most iconic Japanese film posters ever created\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. Noguchi’s extraordinary portrait of Jean-Pierre Léaud captures the vulnerability, watchfulness and defiance of Antoine Doinel through a few unforgettable details: crossed arms, a raised collar concealing his mouth, and eyes turned cautiously to one side. Expressive brushwork and beautifully drawn Japanese lettering make the poster a compelling work of graphic art in its own right.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe design also has a remarkable connection to the filmmaker: \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eTruffaut admired Noguchi’s poster and subsequently included it in \u003c\/span\u003e\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e\u003cspan\u003eLove at Twenty\u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e\u003cspan\u003e (1962)\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, bringing the Japanese artwork into the cinematic world of Antoine Doinel himself.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis example remains in \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eExcellent+ condition for its age\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, with strong colour and outstanding display appeal. It is \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003enot linen-backed\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eTwo tiny tears have been repaired with archival acid-free tape on the verso; no other restoration has been undertaken.\u003c\/span\u003e\u003c\/strong\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\u003cspan\u003eOriginally released in France in \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e1959\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eThe 400 Blows\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e received its first Japanese theatrical release on \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e17 March 1960\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, distributed by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eTowa\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e under the title \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e大人は判ってくれない — “Adults Don’t Understand.”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis poster was printed for that \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eoriginal 1960 Japanese release campaign\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. It is the first-release B2 edition of Noguchi’s painted design, retaining the original arrangement of Japanese and French lettering, Cannes award announcement, production credits and diamond-shaped Towa emblem.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Japanese \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eB2 format measures approximately 51 × 73 cm\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, offering an ideal scale for the intimacy of the portrait and the sweeping vertical title.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eAbout the Film\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eFrançois Truffaut’s first feature film\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eThe 400 Blows\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e follows \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eAntoine Doinel\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, a Parisian schoolboy whose difficulties at home and in the classroom gradually lead him towards truancy, petty theft and institutional confinement.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDrawing deeply on Truffaut’s own childhood, the film observes a young person struggling to find affection, freedom and understanding in a world governed by adults. Its emotional force comes from the attention given to Antoine’s everyday experiences: friendship, punishment, small acts of rebellion and fleeting moments of escape.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eJean-Pierre Léaud\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e gives an extraordinary performance as Antoine, alongside \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eClaire Maurier, Albert Rémy and Patrick Auffay\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. Written by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eTruffaut and Marcel Moussy\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, the film features \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eHenri Decaë’s black-and-white cinematography\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and music by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eJean Constantin\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts final sequence, culminating in the famous freeze-frame of Antoine looking towards the camera, remains one of cinema’s most enduring images of childhood and uncertainty.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThe Film’s Reception \u0026amp; the French New Wave\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan\u003eThe 400 Blows\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e was a defining breakthrough for the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eFrench New Wave\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, helping establish a cinema shaped by personal experience, location filming and a new freedom of expression.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTruffaut received the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eBest Director Award at the 1959 Cannes Film Festival\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, an achievement prominently announced on this poster. The screenplay by Truffaut and Moussy also received an \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eAcademy Award nomination for original screenplay\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe film established Léaud as one of the essential faces of French cinema and introduced \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eAntoine Doinel\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, a character Truffaut would revisit across the following two decades. Its combination of autobiographical feeling, humour and emotional precision has sustained its reputation as \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eone of the great films about adolescence\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis original Japanese poster belongs to the moment when that reputation was first taking shape internationally.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eHisamitsu Noguchi, Towa \u0026amp; the Truffaut Connection\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eHisamitsu Noguchi (野口久光, 1909–1994)\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e occupies a central place in the history of Japanese film-poster design.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAfter graduating from \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eTokyo Fine Arts School in 1933\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, he joined \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eTowa Shoji\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, later Toho-Towa, and created \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003emore than 1,000 film posters over approximately three decades\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. His work helped introduce generations of Japanese audiences to European cinema.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNoguchi’s distinctive approach combined expressive illustration with \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ehand-drawn lettering\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, often described as \u003c\/span\u003e\u003cem\u003e\u003cspan\u003ekakimoji\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e. Portrait, colour and typography were conceived together, allowing each design to communicate the atmosphere and emotional character of its film.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan\u003eThe 400 Blows\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e is among his most memorable achievements. The boy’s guarded expression and protective posture convey the film’s central concern with a child who feels misunderstood.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTruffaut’s admiration gives this design a particularly meaningful place in film history.\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e The poster appears on Antoine Doinel’s bedroom wall in \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“Antoine and Colette,” Truffaut’s contribution to \u003c\/span\u003e\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e\u003cspan\u003eLove at Twenty \/ L’Amour à vingt ans\u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e\u003cspan\u003e (1962)\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. An image created for the film’s Japanese audience thus became part of the continuing story of its protagonist.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003ePoster Design\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThe unforgettable portrait:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Antoine occupies the lower centre and right of the composition, his arms folded tightly across his body. The sweater collar rises over his mouth, concentrating attention on his sideways glance. To our eye, the pose expresses both resistance and a desire for protection.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003ePainterly colour and texture:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Deep burgundy, brown and near-black tones define the figure, with green highlights running through the sweater and hair. The surrounding field combines ochre, cream, muted olive and softly worked rose-brown passages. The printed brushwork gives the composition the expressive surface of a painting.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eMonumental Japanese lettering:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e The title \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e大人は判ってくれない\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e descends along the left edge in irregular, energetic strokes. Most of the lettering is dark burgundy, while the character \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e判\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e is picked out in brilliant red, creating a powerful accent beside the subdued portrait.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eFrench lettering and Cannes recognition:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e At upper right, \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eLes quatre cents coups\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e appears in loose handwritten lettering, followed by Truffaut’s name. The Cannes award is announced in both Japanese and French, placing the film’s international recognition within the composition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eSpace and emotional emphasis:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e The broad expanse above Antoine allows the figure room to breathe. His eyes, crossed arms and concealed mouth become the principal narrative elements, giving the poster an unusually intimate presence.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTowa emblem and artist’s signature:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e The lower-right corner carries the red-and-yellow \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eTowa diamond\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, together with Noguchi’s \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eprinted “h.noguchi” signature\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. These details complete a design in which even the commercial markings are carefully integrated into the artwork.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eJapanese Text \u0026amp; Translation\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Japanese title reads:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e「大人は判ってくれない」\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003e“Adults Don’t Understand.”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt is a particularly evocative title for the film, expressing Antoine’s frustration and isolation directly.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe blue headline across the top asks:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e「汚れ知らぬ少年のこころを蝕み、信頼を裏切るものは何か？」\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003e“What corrupts an innocent boy’s heart and betrays his trust?”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe award announcement reads:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e「1959年カンヌ映画祭『監督賞』受賞作品」\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003e“Winner of the Best Director Award at the 1959 Cannes Film Festival.”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTogether, the copy presents the film as an intimate examination of childhood and a major new work of international cinema.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRarity \u0026amp; Collector Significance\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginal 1960 first-release Japanese B2 examples of this Noguchi design are exceptionally scarce.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe image’s familiarity can obscure the rarity of the original theatrical printing. Noguchi’s artwork was used again for later editions, making the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003efirst-release issue\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e especially significant to collectors.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis poster combines several exceptional qualities: \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eTruffaut’s landmark debut, Jean-Pierre Léaud’s defining early role, one of Noguchi’s most accomplished designs, and the artwork’s subsequent appearance in the Antoine Doinel cycle\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts appeal extends across \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eFrench New Wave cinema, Japanese graphic design, artist-designed film posters and the work of Hisamitsu Noguchi\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. The illustration has an emotional immediacy that remains compelling even before its history is understood.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor us, this is a \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eholy-grail Japanese poster\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e: an original release sheet whose importance rests equally on its rarity, its artistry and its connection to the film it represents.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eCondition\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOverall condition: Excellent+ for its age.\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e A beautifully surviving original 1960 Japanese B2, retaining strong colour, expressive printed detail and exceptional visual appeal.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTwo discreet repairs:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eTwo tiny tears have been repaired using archival acid-free tape on the verso.\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e These limited repairs are the only restoration undertaken.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eUnbacked:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e The poster \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ehas not been linen-backed\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and retains its original paper surface.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eColour and image:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e The deep burgundy portrait, vivid red title accent, blue upper lettering and subtle green and ochre passages remain particularly attractive. Noguchi’s painterly textures and the expression in Antoine’s eyes retain excellent definition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eVerso:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e The reverse shows age toning, fold impressions and visible show-through from the printed image, as documented in the photographs.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePlease review all supplied photographs carefully. They show the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eexact poster offered\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, including the front, reverse and detailed views.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis is an \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eoriginal Japanese B2 theatrical poster printed for the first Japanese release of \u003c\/span\u003e\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e\u003cspan\u003eThe 400 Blows\u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e\u003cspan\u003e in 1960\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 later reissue\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\u003eCertificate of Authenticity included.\u003c\/span\u003e\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","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":57533369287034,"sku":null,"price":8950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/Manstandinginfrontofgallerywallcopy2026-11-09-15-10.jpg?v=1794204652","url":"https:\/\/japanposter.co.uk\/products\/les-quatre-cents-coups-the-400-blows-original-first-japanese-release-stb-tatekan-movie-poster-1960-ultra-rare-hisamitsu-noguchi-stb-size-51-145-cm-copy","provider":"Japan Poster Shop","version":"1.0","type":"link"}