{"product_id":"one-plus-one-sympathy-for-the-devil-1996-original-japanese-b1-theatrical-poster-jean-luc-godard-the-rolling-stones-scarce-b1-oversize-original-japanese-re-release-campaign-for-the-1968-film-1996-c-72-8-103-cm-28-7-40-6-in-ia31","title":"“ONE PLUS ONE \/ Sympathy for the Devil” (1996), ORIGINAL JAPANESE B1 THEATRICAL POSTER, JEAN-LUC GODARD \/ THE ROLLING STONES, Scarce B1 Oversize, Original Japanese Re-Release Campaign for the 1968 film (1996), c. 72.8 × 103 cm (28.7 × 40.6 in) IA31","description":"\u003cp data-start=\"265\" data-end=\"823\"\u003eAn exceptional original Japanese B1 theatrical poster for Jean-Luc Godard’s \u003cstrong data-start=\"341\" data-end=\"357\"\u003eOne Plus One\u003c\/strong\u003e—the 1968 film widely also known under the release title \u003cstrong data-start=\"414\" data-end=\"440\"\u003eSympathy for the Devil\u003c\/strong\u003e. Issued for the film’s \u003cstrong data-start=\"464\" data-end=\"492\"\u003e1996 Japanese re-release\u003c\/strong\u003e, this is a striking, highly graphic design: bold black, red, and blue typography dominates the left side, while a vertical strip of stills at right presents a sequence of images from both the Rolling Stones recording sessions and Godard’s staged political tableaux. The result is clean, modern, and unmistakably art-house in tone.\u003c\/p\u003e\n\u003cp data-start=\"825\" data-end=\"1124\"\u003eFor collectors, this is a genuinely difficult format. The standard Japanese theatrical poster size is B2; \u003cstrong data-start=\"931\" data-end=\"980\"\u003eB1 is the much larger oversize display format\u003c\/strong\u003e, produced for more limited cinema placement and encountered far less often today—especially for a specialist repertory re-release such as this.\u003c\/p\u003e\n\u003cp data-start=\"1126\" data-end=\"1453\"\u003eFor a title as important and unconventional as \u003cstrong data-start=\"1173\" data-end=\"1189\"\u003eOne Plus One\u003c\/strong\u003e, the combination of \u003cstrong data-start=\"1210\" data-end=\"1245\"\u003e1996 Japanese re-release status\u003c\/strong\u003e, \u003cstrong data-start=\"1247\" data-end=\"1269\"\u003eoversize B1 format\u003c\/strong\u003e, and a poster design that so effectively captures both the film’s musical and political dimensions makes this a particularly desirable piece of Godard and Rolling Stones cinema paper.\u003c\/p\u003e\n\u003cp data-start=\"1455\" data-end=\"1493\"\u003e\u003cstrong data-start=\"1455\" data-end=\"1493\"\u003eDate \u0026amp; Japanese Theatrical Release\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"1495\" data-end=\"1817\"\u003eOriginally made in \u003cstrong data-start=\"1514\" data-end=\"1522\"\u003e1968\u003c\/strong\u003e, \u003cstrong data-start=\"1524\" data-end=\"1540\"\u003eOne Plus One\u003c\/strong\u003e was reissued theatrically in Japan in \u003cstrong data-start=\"1579\" data-end=\"1587\"\u003e1996\u003c\/strong\u003e, and this B1 poster corresponds to that \u003cstrong data-start=\"1628\" data-end=\"1660\"\u003eJapanese re-release campaign\u003c\/strong\u003e. The lower text includes the 1996 Comstock release credit, confirming it as a genuine period poster from that reissue rather than later decorative material.\u003c\/p\u003e\n\u003cp data-start=\"1819\" data-end=\"1861\"\u003e\u003cstrong data-start=\"1819\" data-end=\"1861\"\u003eThe Film \u0026amp; Its Place in Cinema History\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"1863\" data-end=\"2314\"\u003eDirected by \u003cstrong data-start=\"1875\" data-end=\"1894\"\u003eJean-Luc Godard\u003c\/strong\u003e, \u003cstrong data-start=\"1896\" data-end=\"1912\"\u003eOne Plus One\u003c\/strong\u003e occupies a singular position in both film history and music documentary history. The film intercuts footage of \u003cstrong data-start=\"2024\" data-end=\"2046\"\u003eThe Rolling Stones\u003c\/strong\u003e—including \u003cstrong data-start=\"2057\" data-end=\"2132\"\u003eMick Jagger, Keith Richards, Brian Jones, Charlie Watts, and Bill Wyman\u003c\/strong\u003e—working in the studio on the construction of \u003cstrong data-start=\"2178\" data-end=\"2206\"\u003e“Sympathy for the Devil”\u003c\/strong\u003e, with politically charged, semi-theatrical sequences reflecting Godard’s late-1960s revolutionary concerns.\u003c\/p\u003e\n\u003cp data-start=\"2316\" data-end=\"2741\"\u003eThe result is neither a conventional concert film nor a straightforward documentary. Instead, it is a work about process, performance, politics, image-making, and cultural upheaval. That tension is central to the film’s reputation and to the significance of this poster: it represents not only a major title in Godard’s political period, but also one of the most discussed cinematic documents connected to the Rolling Stones.\u003c\/p\u003e\n\u003cp data-start=\"2743\" data-end=\"3245\"\u003eThe title \u003cstrong data-start=\"2753\" data-end=\"2769\"\u003eOne Plus One\u003c\/strong\u003e is especially important. It was Godard’s original preferred title, reflecting an open process of accumulation and construction rather than a simple completed result. This distinguishes it from the alternate release title \u003cstrong data-start=\"2991\" data-end=\"3017\"\u003eSympathy for the Devil\u003c\/strong\u003e, which foregrounded the song and the band. Posters from later reissues that restore the emphasis on \u003cstrong data-start=\"3118\" data-end=\"3134\"\u003eOne Plus One\u003c\/strong\u003e are therefore of particular interest to collectors who value the film in its more original conceptual framing.\u003c\/p\u003e\n\u003cp data-start=\"3247\" data-end=\"3263\"\u003e\u003cstrong data-start=\"3247\" data-end=\"3263\"\u003eDesign Notes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"3265\" data-end=\"3400\"\u003eThis sheet is a superb and highly distinctive example of 1990s Japanese art-house poster design, made even more impressive at B1 scale:\u003c\/p\u003e\n\u003cp data-start=\"3402\" data-end=\"3591\"\u003e\u003cstrong data-start=\"3402\" data-end=\"3433\"\u003eBold typographic structure:\u003c\/strong\u003e the left side is dominated by large block lettering—\u003cstrong data-start=\"3486\" data-end=\"3545\"\u003eJEAN-LUC GODARD \/ ONE \/ PLUS \/ ONE \/ THE ROLLING STONES\u003c\/strong\u003e—giving the poster immediate graphic strength.\u003c\/p\u003e\n\u003cp data-start=\"3593\" data-end=\"3771\"\u003e\u003cstrong data-start=\"3593\" data-end=\"3618\"\u003eThree-colour palette:\u003c\/strong\u003e the use of black, red, and blue against a white ground is simple but highly effective, lending the design a modernist clarity entirely suited to Godard.\u003c\/p\u003e\n\u003cp data-start=\"3773\" data-end=\"3998\"\u003e\u003cstrong data-start=\"3773\" data-end=\"3807\"\u003eVertical strip of film stills:\u003c\/strong\u003e the right-hand column presents a sequence of images capturing both studio recording sessions and the film’s political-performance elements, effectively summarising the work’s dual structure.\u003c\/p\u003e\n\u003cp data-start=\"4000\" data-end=\"4209\"\u003e\u003cstrong data-start=\"4000\" data-end=\"4042\"\u003eMusic and politics in one composition:\u003c\/strong\u003e candid scenes of the Stones at work sit beside provocative, staged imagery, reflecting the film’s unusual identity as both creative documentary and ideological essay.\u003c\/p\u003e\n\u003cp data-start=\"4211\" data-end=\"4396\"\u003e\u003cstrong data-start=\"4211\" data-end=\"4234\"\u003eRe-release framing:\u003c\/strong\u003e the emphasis on \u003cstrong data-start=\"4251\" data-end=\"4267\"\u003eONE PLUS ONE\u003c\/strong\u003e rather than only \u003cstrong data-start=\"4285\" data-end=\"4311\"\u003eSympathy for the Devil\u003c\/strong\u003e reflects the 1996 reissue’s alignment with Godard’s original conception of the film.\u003c\/p\u003e\n\u003cp data-start=\"4398\" data-end=\"4537\"\u003eAt B1 size, the design has a real poster-room or gallery presence. It is visually restrained, intellectually sharp, and highly collectible.\u003c\/p\u003e\n\u003cp data-start=\"4539\" data-end=\"4594\"\u003e\u003cstrong data-start=\"4539\" data-end=\"4594\"\u003eThe Japanese B1 Format and Why It’s So Hard to Find\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"4596\" data-end=\"4932\"\u003eJapan’s standard theatrical poster size is B2, and that was the primary format for most cinema campaigns. \u003cstrong data-start=\"4702\" data-end=\"4740\"\u003eB1 is a separate oversize category\u003c\/strong\u003e used for more limited, higher-impact display placements such as lobby cases and premium in-theatre locations. As a result, original B1 posters are markedly scarcer than their B2 counterparts.\u003c\/p\u003e\n\u003cp data-start=\"4934\" data-end=\"5380\"\u003eThat scarcity is even more pronounced for \u003cstrong data-start=\"4976\" data-end=\"5021\"\u003eart-house and repertory re-release titles\u003c\/strong\u003e, which were typically printed in smaller quantities than mainstream commercial releases. No official print figures are publicly available for this style, but the practical reality is clear: far fewer B1s were produced, displayed, and saved. For that reason, original B1 examples for important Godard-related releases remain notably difficult to locate today.\u003c\/p\u003e\n\u003cp data-start=\"5382\" data-end=\"5457\"\u003e\u003cstrong data-start=\"5382\" data-end=\"5457\"\u003eAbout the Filmmaker: Jean-Luc Godard, The Rolling Stones \u0026amp; One Plus One\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"5459\" data-end=\"5852\"\u003eBy the late 1960s, \u003cstrong data-start=\"5478\" data-end=\"5497\"\u003eJean-Luc Godard\u003c\/strong\u003e had moved decisively beyond the already radical achievements of the French New Wave into more overtly political and formally experimental territory. \u003cstrong data-start=\"5647\" data-end=\"5663\"\u003eOne Plus One\u003c\/strong\u003e is one of the clearest examples of that shift: a film that refuses easy categorisation and instead invites viewers to think about sound, image, labour, ideology, celebrity, and revolution.\u003c\/p\u003e\n\u003cp data-start=\"5854\" data-end=\"6231\"\u003eThe poster reflects that complexity extremely well. Rather than relying on a single dominant image, it uses typography and fragments—words, stills, names, moments—to evoke the film’s process-based structure. That makes this sheet especially satisfying as a collector’s object: it is not only an advertisement, but also a graphic interpretation of the film’s method and meaning.\u003c\/p\u003e\n\u003cp data-start=\"6233\" data-end=\"6253\"\u003e\u003cstrong data-start=\"6233\" data-end=\"6253\"\u003eCondition Report\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"6255\" data-end=\"6644\"\u003e\u003cstrong data-start=\"6255\" data-end=\"6304\"\u003eOverall presentation: Excellent (close to near mint)\u003c\/strong\u003e\u003cbr data-start=\"6304\" data-end=\"6307\"\u003eThis is a highly displayable original example with clean, strong colour, sharp typography, and very attractive overall front presentation. \u003cstrong data-start=\"6646\" data-end=\"6669\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"7006\" data-end=\"7122\"\u003e\u003cstrong data-start=\"7006\" data-end=\"7023\"\u003eAuthenticity:\u003c\/strong\u003e \u003cstrong data-start=\"7024\" data-end=\"7082\"\u003eOriginal 1996 Japanese B1 re-release theatrical poster\u003c\/strong\u003e — not a reproduction or modern reprint.\u003c\/p\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":57425319559546,"sku":null,"price":475.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/man-looking-at-an-art-gallery-wall_27.jpg?v=1777415879","url":"https:\/\/japanposter.co.uk\/products\/one-plus-one-sympathy-for-the-devil-1996-original-japanese-b1-theatrical-poster-jean-luc-godard-the-rolling-stones-scarce-b1-oversize-original-japanese-re-release-campaign-for-the-1968-film-1996-c-72-8-103-cm-28-7-40-6-in-ia31","provider":"Japan Poster Shop","version":"1.0","type":"link"}