{"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","title":"“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)","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-start=\"295\" data-end=\"879\"\u003e\u003cstrong data-start=\"295\" data-end=\"418\"\u003e“Les Quatre Cents Coups \/ The 400 Blows”, Original First Japanese Release Japanese Movie Poster, 1960, STB Tatekan Size\u003c\/strong\u003e\u003cbr data-start=\"418\" data-end=\"421\"\u003eJapanese title: \u003cstrong data-start=\"437\" data-end=\"453\"\u003e「大人は判ってくれない」\u003c\/strong\u003e (\u003cem data-start=\"455\" data-end=\"481\"\u003eOtona wa wakatte kurenai\u003c\/em\u003e — “Adults Don’t Understand”)\u003cbr data-start=\"510\" data-end=\"513\"\u003eSize: \u003cstrong data-start=\"519\" data-end=\"571\"\u003eSTB \/ Tatekan, approx. 20 × 57 in. \/ 51 × 145 cm\u003c\/strong\u003e\u003cbr data-start=\"571\" data-end=\"574\"\u003eFormat: \u003cstrong data-start=\"582\" data-end=\"623\"\u003eB2 × 2 vertical standing-board format\u003c\/strong\u003e\u003cbr data-start=\"623\" data-end=\"626\"\u003eCountry \/ Distributor: \u003cstrong data-start=\"649\" data-end=\"665\"\u003eJapan \/ Towa\u003c\/strong\u003e\u003cbr data-start=\"665\" data-end=\"668\"\u003eFilm year: \u003cstrong data-start=\"679\" data-end=\"687\"\u003e1959\u003c\/strong\u003e\u003cbr data-start=\"687\" data-end=\"690\"\u003eFirst Japanese release: \u003cstrong data-start=\"714\" data-end=\"731\"\u003e17 March 1960\u003c\/strong\u003e\u003cbr data-start=\"731\" data-end=\"734\"\u003eArtwork: \u003cstrong data-start=\"743\" data-end=\"764\"\u003eHisamitsu Noguchi\u003c\/strong\u003e (野口久光, 1909–1994)\u003cbr data-start=\"782\" data-end=\"785\"\u003eDirector: \u003cstrong data-start=\"795\" data-end=\"816\"\u003eFrançois Truffaut\u003c\/strong\u003e\u003cbr data-start=\"816\" data-end=\"819\"\u003eStarring: \u003cstrong data-start=\"829\" data-end=\"879\"\u003eJean-Pierre Léaud, Claire Maurier, Albert Rémy\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch3 data-section-id=\"1j3e5i5\" data-start=\"881\" data-end=\"912\"\u003e\u003cspan role=\"text\"\u003eWhy this is a holy grail\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp data-start=\"914\" data-end=\"1442\"\u003ePrinted for the film’s \u003cstrong data-start=\"937\" data-end=\"977\"\u003eoriginal Japanese theatrical release\u003c\/strong\u003e, this first-release \u003cstrong data-start=\"998\" data-end=\"1015\"\u003eSTB \/ tatekan\u003c\/strong\u003e is in a category far beyond the standard Japanese B2. The National Film Archive of Japan’s 2026 exhibition \u003cem data-start=\"1123\" data-end=\"1168\"\u003eThe Art of Film Posters in Japan: Revisited\u003c\/em\u003e lists Noguchi’s \u003cstrong data-start=\"1185\" data-end=\"1201\"\u003e『The 400 Blows』\u003c\/strong\u003e as the first work in its Hisamitsu Noguchi section, specifically identifying the exhibited format as \u003cstrong data-start=\"1303\" data-end=\"1313\"\u003eB2 × 2\u003c\/strong\u003e; it is also documented that this poster is permanently held by the National Film Archive of Japan adding to it`s gravitas.\u003cspan class=\"\" data-state=\"closed\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"1444\" data-end=\"1925\"\u003eThe only other example we have seen publicly displayed (or anywhere) is the one shown at the \u003cstrong data-start=\"1523\" data-end=\"1557\"\u003eNational Film Archive of Japan\u003c\/strong\u003e, where it was installed prominently in the Hisamitsu Noguchi section, effectively as a centerpiece. That institutional context says a great deal about the poster’s importance: this is not simply a rare piece of film advertising, but a museum-grade object at the intersection of \u003cstrong data-start=\"1836\" data-end=\"1924\"\u003eNouvelle Vague cinema, Japanese graphic design, and 1960s theatrical display culture\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp data-start=\"1927\" data-end=\"2360\"\u003eEven the standard first-release Japanese B2 by Noguchi is a major collector object. Sotheby’s described a related first-release Style C B2 as \u003cstrong data-start=\"2069\" data-end=\"2093\"\u003e“exceptionally rare”\u003c\/strong\u003e, noting that it had surfaced only a few times in more than twenty years; this STB \/ tatekan format is rarer still, being the tall two-sheet display format intended for standing theatre signboards rather than ordinary poster use. \u003cspan class=\"\" data-state=\"closed\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3 data-section-id=\"14vkfx0\" data-start=\"2362\" data-end=\"2386\"\u003e\u003cspan role=\"text\"\u003eDesign highlights\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp data-start=\"2388\" data-end=\"2860\"\u003eThis is one of the greatest Japanese poster designs for European cinema. Noguchi places \u003cstrong data-start=\"2473\" data-end=\"2491\"\u003eAntoine Doinel\u003c\/strong\u003e full-length at the center of the image, rendered in a vivid yellow sweater and green trousers, his expression carrying the mixture of defiance, loneliness, and wary intelligence that defines Jean-Pierre Léaud’s performance. The figure is not presented as a conventional child star, but as an isolated emotional subject — direct, unsentimental, and unmistakably modern.\u003c\/p\u003e\n\u003cp data-start=\"2862\" data-end=\"3221\"\u003eBehind him, a large charcoal-like image in blue-grey tones evokes the adult world surrounding Antoine: desire, conflict, authority, and emotional incomprehension. The contrast between the rough monochrome background and Antoine’s glowing colour creates the poster’s extraordinary tension. It is at once painterly, psychologically direct, and graphically bold.\u003c\/p\u003e\n\u003cp data-start=\"3223\" data-end=\"3680\"\u003eThe vertical Japanese title \u003cstrong data-start=\"3251\" data-end=\"3267\"\u003e「大人は判ってくれない」\u003c\/strong\u003e dominates the right side in powerful brush lettering. It is one of the most evocative Japanese release titles of the New Wave period, translating not literally from the French idiom but emotionally: \u003cstrong data-start=\"3467\" data-end=\"3497\"\u003e“Adults Don’t Understand.”\u003c\/strong\u003e At the top, the red text announces the film’s \u003cstrong data-start=\"3544\" data-end=\"3593\"\u003e1959 Cannes Film Festival Best Director award\u003c\/strong\u003e, while the Towa mark situates it firmly within the original Japanese release campaign.\u003c\/p\u003e\n\u003ch3 data-section-id=\"1bvqf46\" data-start=\"3682\" data-end=\"3733\"\u003e\u003cspan role=\"text\"\u003eHisamitsu Noguchi and collector significance\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp data-start=\"3735\" data-end=\"4390\"\u003e\u003cstrong data-start=\"3735\" data-end=\"3756\"\u003eHisamitsu Noguchi\u003c\/strong\u003e is one of the central figures in Japanese cinema-poster history, and arguably one of the godfathers of Japanese film-poster art. After graduating from Tokyo Fine Arts School in 1933, he joined Towa Shoji, later Toho-Towa, where he created Japanese-market posters for European films. Museum and exhibition sources note that he produced \u003cstrong data-start=\"4092\" data-end=\"4119\"\u003emore than 1,000 posters\u003c\/strong\u003e over roughly three decades, becoming known for expressive illustration and hand-drawn title lettering — \u003cem data-start=\"4224\" data-end=\"4234\"\u003ekakimoji\u003c\/em\u003e — that matched the mood of the film rather than merely advertising its stars. \u003cspan class=\"\" data-state=\"closed\"\u003e\u003c\/span\u003e \u003cspan class=\"\" data-state=\"closed\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"4392\" data-end=\"4793\"\u003eNoguchi’s importance lies in the way he elevated foreign-film advertising in Japan into a form of independent graphic interpretation. The National Film Archive describes Noguchi and Shigemi Hijikata as artists who understood the deeper qualities of cinema and sought to capture them through a painterly style, rather than relying on anonymous studio convention. \u003cspan class=\"\" data-state=\"closed\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"4795\" data-end=\"5303\"\u003eThis design also has a remarkable connection to Truffaut himself. Sotheby’s notes that Truffaut admired Noguchi’s artwork for \u003cstrong data-start=\"4921\" data-end=\"4938\"\u003eThe 400 Blows\u003c\/strong\u003e so deeply that he used it in his 1962 film \u003cstrong data-start=\"4982\" data-end=\"5022\"\u003eLove at Twenty \/ L’amour à vingt ans\u003c\/strong\u003e, where it appears on Antoine Doinel’s bedroom wall. \u003cspan class=\"\" data-state=\"closed\"\u003e\u003c\/span\u003e That is an extraordinary piece of poster provenance in cultural terms: the artwork was not only made for Truffaut’s Japanese audience, it entered the visual world of the Doinel cycle itself.\u003c\/p\u003e\n\u003ch3 data-section-id=\"161vo8i\" data-start=\"5305\" data-end=\"5320\"\u003e\u003cspan role=\"text\"\u003eThe film\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp data-start=\"5322\" data-end=\"5920\"\u003eFrançois Truffaut’s \u003cstrong data-start=\"5342\" data-end=\"5359\"\u003eThe 400 Blows\u003c\/strong\u003e is one of the defining films of the French New Wave. Truffaut’s first feature, co-written with Marcel Moussy, introduced Jean-Pierre Léaud as Antoine Doinel, the semi-autobiographical schoolboy whose conflicts with parents, teachers, and institutions became one of cinema’s most enduring portraits of adolescence. The Festival de Cannes describes the film as one that helped pave the way for the French New Wave and notes that its creativity won Truffaut the \u003cstrong data-start=\"5819\" data-end=\"5842\"\u003eBest Director Award\u003c\/strong\u003e at Cannes in the year of its release. \u003cspan class=\"\" data-state=\"closed\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"5922\" data-end=\"6417\"\u003eCriterion likewise describes Truffaut as moving from critic and auteur theorist to filmmaker with \u003cstrong data-start=\"6020\" data-end=\"6037\"\u003eThe 400 Blows\u003c\/strong\u003e, which won Best Director at Cannes and “led the French new-wave charge.” \u003cspan class=\"\" data-state=\"closed\"\u003e\u003c\/span\u003e The film was also nominated for the \u003cstrong data-start=\"6185\" data-end=\"6231\"\u003eAcademy Award for Best Original Screenplay\u003c\/strong\u003e, and Japanese film database sources record its original Japanese release on \u003cstrong data-start=\"6308\" data-end=\"6325\"\u003e17 March 1960\u003c\/strong\u003e through Towa. \u003cspan class=\"\" data-state=\"closed\"\u003e\u003c\/span\u003e \u003cspan class=\"\" data-state=\"closed\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"6419\" data-end=\"6734\"\u003eIts critical stature has only increased with time. In the 2022 \u003cstrong data-start=\"6482\" data-end=\"6501\"\u003eSight and Sound\u003c\/strong\u003e poll, the BFI placed \u003cstrong data-start=\"6523\" data-end=\"6540\"\u003eThe 400 Blows\u003c\/strong\u003e at \u003cstrong data-start=\"6544\" data-end=\"6554\"\u003eNo. 50\u003c\/strong\u003e among the greatest films of all time, describing it as Truffaut’s free-wheeling debut and a “banner film” for Nouvelle Vague lyric realism. \u003cspan class=\"\" data-state=\"closed\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3 data-section-id=\"mjyyns\" data-start=\"6736\" data-end=\"6773\"\u003e\u003cspan role=\"text\"\u003eAbout the STB \/ Tatekan format\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp data-start=\"6775\" data-end=\"7197\"\u003eJapanese \u003cstrong data-start=\"6784\" data-end=\"6801\"\u003eSTB \/ tatekan\u003c\/strong\u003e posters were tall standing-board advertisements, typically around \u003cstrong data-start=\"6868\" data-end=\"6886\"\u003e20 × 58 inches\u003c\/strong\u003e, designed for vertical theatre and street display. The term derives from \u003cstrong data-start=\"6960\" data-end=\"6975\"\u003etate kanban\u003c\/strong\u003e, or standing signboard. The format is essentially two B2 posters stacked vertically, giving it a dramatic height and visual authority that standard one-sheet formats cannot match. \u003cspan class=\"\" data-state=\"closed\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"7199\" data-end=\"7804\"\u003eBecause these posters were made for practical theatrical use — often displayed in or outside cinemas, mounted to boards, pasted, exposed, and discarded after a run — survival rates are dramatically lower than for standard B2s. Collectors prize them not only for scale, but because surviving first-release examples often represent the most impressive and least replaceable form of a Japanese campaign. Specialist poster references describe STB \/ tatekan posters as dramatically rarer than standard one-sheets, with the format measuring approximately \u003cstrong data-start=\"7748\" data-end=\"7763\"\u003e51 × 145 cm\u003c\/strong\u003e. \u003cspan class=\"\" data-state=\"closed\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"7806\" data-end=\"8017\"\u003eFor \u003cstrong data-start=\"7810\" data-end=\"7827\"\u003eThe 400 Blows\u003c\/strong\u003e, that rarity is amplified by every other factor: \u003cstrong data-start=\"7877\" data-end=\"8016\"\u003eTruffaut’s breakthrough film, the birth of the New Wave, Noguchi’s artwork, first Japanese release status, and direct museum comparison\u003c\/strong\u003e.\u003c\/p\u003e\n\u003ch3 data-section-id=\"7zrzpy\" data-start=\"8019\" data-end=\"8035\"\u003e\u003cspan role=\"text\"\u003eCondition (Professionally restored and linenbacked by Fourth Cone Restoration)\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp data-start=\"8037\" data-end=\"8375\"\u003ePrior to restoration, this was a \u003cstrong data-start=\"8070\" data-end=\"8093\"\u003etheatre-used poster\u003c\/strong\u003e with minor handling, surface, and fold wear consistent with original exhibition use. Following restoration, it now presents as \u003cstrong data-start=\"8221\" data-end=\"8277\"\u003every fine to near mint from normal viewing distances\u003c\/strong\u003e, with strong colour, excellent visual presence, and the full impact expected from the STB format.\u003c\/p\u003e\n\u003cp data-start=\"8377\" data-end=\"8698\"\u003eThe restoration has allowed the poster to retain the character of a genuine 1960 theatrical object while presenting at a level appropriate for serious display. Please review the photos carefully, as they show the exact poster for sale.\u003c\/p\u003e\n\u003ch3 data-section-id=\"jei39h\" data-start=\"8700\" data-end=\"8721\"\u003e\u003cspan role=\"text\"\u003eAuthentication\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp data-start=\"8723\" data-end=\"8922\"\u003e\u003cstrong data-start=\"8723\" data-end=\"8746\"\u003eGuaranteed original\u003c\/strong\u003e; first-release Japanese \u003cstrong data-start=\"8771\" data-end=\"8788\"\u003eSTB \/ tatekan\u003c\/strong\u003e poster for the 1960 Japanese theatrical release of \u003cstrong data-start=\"8840\" data-end=\"8882\"\u003eLes Quatre Cents Coups \/ The 400 Blows\u003c\/strong\u003e, with artwork by \u003cstrong data-start=\"8900\" data-end=\"8921\"\u003eHisamitsu Noguchi\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp data-start=\"8924\" data-end=\"9092\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eA \u003cstrong data-start=\"8926\" data-end=\"8949\"\u003emuseum-grade rarity\u003c\/strong\u003e: one of the most important Japanese posters for a French New Wave film, in the rarest and most visually commanding Japanese theatrical format.\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":56959929057658,"sku":null,"price":17950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/man-standing-in-front-of-gallery-wall_4.jpg?v=1780957717","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","provider":"Japan Poster Shop","version":"1.0","type":"link"}