{"product_id":"m-a-s-h-マッシュ-original-first-release-japanese-movie-poster-1970-rare-helmet-peace-sign-design-stb-tatekan-size-c-51-145-cm","title":"“M*A*S*H” (マッシュ), Original First-Release Japanese Movie Poster 1970, Rare “Helmet \u0026 Peace Sign” Design, STB \/ Tatekan Size (c. 51 × 145 cm) ZA1178","description":"\u003cp dir=\"auto\" class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003eAn \u003c\/span\u003e\u003cstrong style=\"font-size: 0.875rem;\"\u003eoriginal first-release Japanese STB \/ tatekan poster\u003c\/strong\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003e for Robert Altman’s \u003c\/span\u003e\u003cem style=\"font-size: 0.875rem;\"\u003eM*A*S*H\u003c\/em\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003e, presenting its extraordinary \u003c\/span\u003e\u003cstrong style=\"font-size: 0.875rem;\"\u003ehelmet, V-sign and high-heeled legs motif\u003c\/strong\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003e in an almost five-foot-tall composition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eUnlike a conventional poster built around portraits or scenes from the film, this design relies on a single, surreal visual idea. \u003cstrong\u003eA hand making a V sign is transformed into a figure with long legs and blue high heels, while a military helmet balances on one raised finger.\u003c\/strong\u003e The image is simultaneously playful, incongruous and unsettling—a fitting introduction to a film that places outrageous comedy beside the realities of a wartime surgical hospital.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe Japanese treatment adds \u003cstrong\u003eoversized sky-blue English lettering, red and magenta katakana, purple stars and brightly coloured campaign copy\u003c\/strong\u003e, creating an especially distinctive balance of photographic imagery and typography.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis example is in \u003cstrong\u003eVery Good+ condition\u003c\/strong\u003e, with \u003cstrong\u003elocalised stains in the surrounding pale background\u003c\/strong\u003e. Importantly, the \u003cstrong\u003ecentral hand, helmet and legs remain visually strong\u003c\/strong\u003e, preserving the design’s striking impact. \u003cstrong\u003eOnce framed, the main image will display beautifully.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eThe film\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eSet during the \u003cstrong\u003eKorean War\u003c\/strong\u003e, \u003cem\u003eM*A*S*H\u003c\/em\u003e follows the daily life of a mobile army surgical hospital, where highly skilled doctors alternate between demanding medical work and irreverent behaviour. \u003cstrong\u003eDonald Sutherland’s Hawkeye, Elliott Gould’s Trapper John and Tom Skerritt’s Duke\u003c\/strong\u003e are capable surgeons whose disregard for military convention provides much of the film’s comedy. Their jokes, schemes and confrontations unfold alongside the continuing arrival of wounded soldiers. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe title refers to a \u003cstrong\u003eMobile Army Surgical Hospital\u003c\/strong\u003e, but the film is as concerned with the personalities within that institution as with its operations. Its central contrast is between the doctors’ professional competence and their refusal to behave as disciplined, conventional military figures. Humour becomes a response to an environment in which suffering is part of everyday work. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAdapted from \u003cstrong\u003eRichard Hooker’s novel\u003c\/strong\u003e, the film combines broad comedy with uncomfortable shifts in tone. It can move from an apparently casual exchange to a disturbing medical scene without giving the audience an easy separation between entertainment and unease. That contrast is central to the black humour promised by the Japanese advertising. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eRobert Altman and the film’s significance\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cem\u003eM*A*S*H\u003c\/em\u003e was a major breakthrough for \u003cstrong\u003eRobert Altman\u003c\/strong\u003e, bringing a wide audience to the ensemble-driven approach that would become one of his defining characteristics. Its overlapping conversations, loosely connected episodes and crowded social environment offer a different rhythm from a neatly ordered, single-hero narrative. The film’s substantial commercial success helped give Altman the freedom to pursue the more unconventional projects that followed. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIts international recognition was immediate. At the \u003cstrong\u003e1970 Cannes Film Festival\u003c\/strong\u003e, \u003cem\u003eM*A*S*H\u003c\/em\u003e received the festival’s \u003cstrong\u003etop prize, then called the Grand Prix International du Festival\u003c\/strong\u003e. That achievement is celebrated directly on this poster through both the English-language laurel and the vertical Japanese award announcement. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAt the \u003cstrong\u003e1971 Academy Awards\u003c\/strong\u003e, the film received \u003cstrong\u003efive nominations\u003c\/strong\u003e, including \u003cstrong\u003eBest Picture, Best Director and Best Supporting Actress for Sally Kellerman\u003c\/strong\u003e. \u003cstrong\u003eRing Lardner Jr. won the screenplay award for an adaptation from another medium\u003c\/strong\u003e, now commonly described as Best Adapted Screenplay. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis is publicity for \u003cstrong\u003eAltman’s original theatrical feature\u003c\/strong\u003e, rather than the television adaptation that began in \u003cstrong\u003e1972\u003c\/strong\u003e. It belongs to the first chapter of \u003cem\u003eM*A*S*H\u003c\/em\u003e as a screen phenomenon, before the later series developed its own identity. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003ePoster design\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe central image is an exceptionally effective match for the \u003cstrong\u003eSTB’s tall proportions\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAt the top of the figure, the \u003cstrong\u003eraised fingers form a V\u003c\/strong\u003e, with a dark steel helmet perched on the left-hand finger. The small \u003cstrong\u003eAmerican flag emblem\u003c\/strong\u003e and dangling chinstrap give the helmet immediate military associations, while its impossible placement introduces the visual joke.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe hand then merges into \u003cstrong\u003etwo long legs terminating in blue high-heeled shoes\u003c\/strong\u003e. At nearly five feet overall, the composition has a scale that a smaller poster cannot reproduce. Its transformation from gesture to figure becomes something the eye follows through the full height of the display.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThere is no conventional star portrait to explain the film. Instead, the design invites the viewer to reconcile incompatible elements: \u003cstrong\u003ea military helmet, a familiar hand gesture, photographic anatomy and fashionable footwear\u003c\/strong\u003e. The result conveys irreverence before any of the promotional copy is read.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe \u003cstrong\u003epale background\u003c\/strong\u003e is essential to this effect. It isolates the central silhouette and allows the flesh tones, dark helmet and blue shoes to remain clearly distinguishable. The amount of open space also gives the design a graphic directness that contrasts with the denser photographic montages often encountered on Japanese cinema posters.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAcross the upper sheet, enormous \u003cstrong\u003esky-blue English title lettering\u003c\/strong\u003e runs diagonally behind the Japanese text, extending beyond the edges of the composition. This introduces movement without competing with the central figure.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe vertical \u003cstrong\u003e「マッシュ」\u003c\/strong\u003e title is particularly attractive. Its \u003cstrong\u003ered and magenta lettering incorporates fine parallel lines\u003c\/strong\u003e, while \u003cstrong\u003etwo purple stars\u003c\/strong\u003e interrupt the sequence. Small ochre asterisk-like accents echo the punctuation associated with the English title. These details give the typography a playful character while keeping it bold enough to read from a distance.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe supporting colours are carefully distributed: \u003cstrong\u003emagenta promotional copy, blue award lettering, green technical and cast information, and a red Cannes laurel\u003c\/strong\u003e. The result is colourful without becoming crowded.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAt the foot, the \u003cstrong\u003eTwentieth Century-Fox logo and Eirin mark\u003c\/strong\u003e complete the theatrical layout. The design’s strength lies in its restraint: \u003cstrong\u003eone enormous, memorable motif, surrounded by typography that amplifies rather than overwhelms it\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eThe Japanese campaign\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe Japanese copy makes the intended combination of comedy and discomfort explicit.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe prominent magenta slogan reads:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e「爆笑と恐怖の波状攻撃！」\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e“Wave after wave of laughter and terror!”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAt the right, the black vertical announcement presents the film as:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e「アメリカ映画が生んだ新らしき傑作！」\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e“A new masterpiece from American cinema!”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThese are the original campaign’s promotional claims, and they preserve the excitement surrounding the film’s arrival in Japan. The neighbouring text emphasises \u003cstrong\u003eblack humour and a younger generation’s perspective\u003c\/strong\u003e, while the blue award announcement introduces the prestige of its Cannes success.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe familiar central motif is given a \u003cstrong\u003edistinctly Japanese treatment through the arrangement of the lettering, colour accents and two-panel composition\u003c\/strong\u003e. The appeal is not that every element was invented for Japan, but that the Japanese campaign turns them into a coherent and unusually striking local design.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eThe STB \/ tatekan format\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eJapanese \u003cstrong\u003eSTB \/ tatekan posters\u003c\/strong\u003e are tall, multi-sheet cinema advertisements, generally composed of \u003cstrong\u003etwo B2-sized sections arranged vertically\u003c\/strong\u003e. Completed examples typically measure around \u003cstrong\u003e20 × 57–58 inches\u003c\/strong\u003e, with some variation between individual posters. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eFor this design, the format is more than a matter of size. The upper panel establishes the title, helmet and hand gesture; the lower panel continues the figure into the legs and shoes. \u003cstrong\u003eBoth sections are necessary to complete the visual idea.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis example retains \u003cstrong\u003ethe two original sheets separately and unbacked\u003c\/strong\u003e. The horizontal meeting point in the assembled photograph is therefore part of the poster’s construction, rather than a tear through one oversized sheet.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eFor collectors, the appeal of this scarce format lies in acquiring the \u003cstrong\u003ecomplete, purpose-designed vertical composition\u003c\/strong\u003e, rather than a cropped image or a later enlargement. Here, the imposing scale makes the poster’s unusual visual joke particularly effective.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eVery Good+ condition, with isolated staining and a strong overall display.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe most noticeable condition issue is \u003cstrong\u003elocalised brown staining in portions of the pale background\u003c\/strong\u003e. This includes patches along the \u003cstrong\u003eleft side of the upper sheet, around the area beside the large blue lettering\u003c\/strong\u003e, and a separate area along the \u003cstrong\u003eleft margin of the lower sheet\u003c\/strong\u003e, near the vertical award announcement. \u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThese marks are visible and form part of the condition of the poster. However, they are \u003cstrong\u003econcentrated in isolated surrounding areas rather than spread across the principal figure\u003c\/strong\u003e. The \u003cstrong\u003ehand, military helmet, legs and blue shoes remain clearly defined and display very well\u003c\/strong\u003e, while the colourful title lettering retains its impact.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe \u003cstrong\u003eVery Good+ grade\u003c\/strong\u003e reflects these physical imperfections while recognising the poster’s considerable visual appeal. Its greatest strength remains the \u003cstrong\u003ecomplete, oversized central image\u003c\/strong\u003e, which is still the dominant feature when the two sections are viewed together.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003ePlease review the photographs carefully, as they show the \u003cstrong\u003eexact poster offered for sale\u003c\/strong\u003e, including both fronts and reverses. \u003cstrong\u003eFramed as a complete STB, this will make a striking display, with the isolated stains remaining part of its visible vintage condition.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eAuthentication\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eGuaranteed original Japanese first-release theatrical poster for \u003cem\u003eM*A*S*H\u003c\/em\u003e, 1970.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eComplete in \u003cstrong\u003etwo original STB \/ tatekan sections\u003c\/strong\u003e, retaining the Japanese campaign typography, Cannes award announcements, production credits, Twentieth Century-Fox branding and printed \u003cstrong\u003eEirin number 45189\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eNot a reproduction, modern reprint or later commemorative poster.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eA rare, visually inventive piece of original Robert Altman film publicity—combining a memorable campaign image, distinctive Japanese typography and the exceptional presence of the STB format.\u003c\/strong\u003e\u003c\/p\u003e\n\u003c!----\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":57289164194170,"sku":null,"price":350.0,"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_11_40a5c7dd-2e56-4974-ac59-a427b82da8e8.jpg?v=1789983264","url":"https:\/\/japanposter.co.uk\/products\/m-a-s-h-%e3%83%9e%e3%83%83%e3%82%b7%e3%83%a5-original-first-release-japanese-movie-poster-1970-rare-helmet-peace-sign-design-stb-tatekan-size-c-51-145-cm","provider":"Japan Poster Shop","version":"1.0","type":"link"}