{"product_id":"rear-window-original-first-release-japanese-movie-poster-1954-ultra-rare-stb-size-51x145cm-copy","title":"“Spellbound” (白い恐怖), Original Japanese First-Release Movie Poster 1951, Ultra Rare Museum-Grade Alfred Hitchcock \/ Ingrid Bergman \/ Gregory Peck Design with Salvador Dalí Credit, B2 Size (51.5 × 72.8 cm) - Gallery","description":"\u003cp dir=\"auto\"\u003e\u003cstrong\u003e“Spellbound” (白い恐怖), Original Japanese First-Release Movie Poster 1951, B2 Size (51.5 × 72.8 cm)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eJapanese title: 「白い恐怖」(\u003cem\u003eShiroi Kyōfu\u003c\/em\u003e — literally “White Fear” or “White Terror”)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 0.875rem;\"\u003eSize: B2 \/ approx. 20.3 × 28.7 in (51.5 × 72.8 cm)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003ePoster country \/ presentation and distribution: Japan \/ SRO presentation; distributed by Toho Co., Ltd.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eOriginal film: United States, 1945\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eFirst Japanese theatrical release: \u003cstrong\u003e23 November 1951\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIssue: \u003cstrong\u003eOriginal first-release Japanese B2\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eDirector: Alfred Hitchcock\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eProducer: David O. Selznick\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eScreenplay: Ben Hecht; adaptation by Angus MacPhail\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eStarring: Ingrid Bergman, Gregory Peck, Michael Chekhov, Leo G. Carroll and Rhonda Fleming\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eDream-sequence design: Salvador Dalí\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eCinematography: George Barnes\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eMusic: Miklós Rózsa\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eCondition: \u003cstrong\u003eExcellent vintage condition; original, unbacked paper, historically folded\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eProvenance: Acquired in Japan from a private collection, and offered from the Japan Poster Shop archive.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eWhy this is a holy grail\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAn exceptionally rare original Japanese first-release B2 for Alfred Hitchcock’s \u003cem\u003e\u003cstrong\u003eSpellbound\u003c\/strong\u003e\u003c\/em\u003e, combining one of the director’s most psychologically charged films with an extraordinary country-of-origin Japanese interpretation created for its delayed theatrical arrival in \u003cstrong\u003e1951\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis is a poster of remarkable crossover importance. It speaks simultaneously to collectors of \u003cstrong\u003eAlfred Hitchcock, Ingrid Bergman, Gregory Peck, Salvador Dalí, classic Hollywood, Surrealism, psychoanalytic cinema and post-war Japanese graphic design\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe image is dominated by a monumental, painterly portrait of Ingrid Bergman locked in an intimate embrace, while Gregory Peck appears separately below—isolated, introspective and visibly burdened by an identity he cannot fully recover. Across the right side, the Japanese title \u003cstrong\u003e白い恐怖\u003c\/strong\u003e is fractured into immense white geometric forms, transforming typography into a visual expression of amnesia, repression and psychological dislocation.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eFew posters capture the dual identity of \u003cem\u003eSpellbound\u003c\/em\u003e so effectively. It is at once a passionate romance, a murder mystery, a pursuit narrative and a film about the unstable terrain of memory. The Japanese designer compresses all of those elements into a single composition: \u003cstrong\u003ethe embrace above, the troubled mind below, and the fragmented title cutting through both\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eOriginal Japanese paper for Hitchcock’s early Hollywood films is exceptionally difficult to source. Publicly documented examples of this exact design are exceedingly limited, and it belongs to a considerably scarcer category than the better-known American and European campaigns.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIts significance is heightened by the Japanese release chronology. Although \u003cem\u003eSpellbound\u003c\/em\u003e was made in \u003cstrong\u003e1945\u003c\/strong\u003e, it did not open theatrically in Japan until \u003cstrong\u003e1951\u003c\/strong\u003e. The poster could therefore advertise Hitchcock, Ben Hecht and the film’s stars through reputations that had grown considerably during the intervening six years. It is not merely publicity for the film—it is a \u003cstrong\u003etime capsule of how post-war Japan received and recontextualised an already celebrated Hollywood work\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIn \u003cstrong\u003eExcellent vintage condition\u003c\/strong\u003e, with strong colour, complete imagery and no major losses, this is a museum-quality example of early post-war Japanese film advertising and one of the most striking Hitchcock B2 designs we have encountered.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eExact issue and Japanese release\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cem\u003eSpellbound\u003c\/em\u003e was produced in the United States in \u003cstrong\u003e1945\u003c\/strong\u003e by David O. Selznick and directed by Alfred Hitchcock. Its first Japanese theatrical release followed on \u003cstrong\u003e23 November 1951\u003c\/strong\u003e, with the film presented through SRO and distributed domestically by Toho.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe Japanese release date is fundamental to correctly identifying this poster.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis is \u003cstrong\u003enot a 1945 Japanese issue\u003c\/strong\u003e: no Japanese theatrical campaign existed at that time. It is an authentic original poster created for the film’s \u003cstrong\u003efirst Japanese release in 1951\u003c\/strong\u003e, six years after its American debut.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThat interval explains several unusually revealing features of the Japanese campaign. Along the left side, the poster identifies Hitchcock as the director of:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e「汚名」「レベッカ」\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e\u003cem\u003eNotorious\u003c\/em\u003e and \u003cem\u003eRebecca\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAlthough \u003cem\u003eNotorious\u003c\/em\u003e was produced after \u003cem\u003eSpellbound\u003c\/em\u003e, it had become an important Hitchcock title by the time Japanese audiences were being introduced to \u003cem\u003eSpellbound\u003c\/em\u003e in 1951. The poster is therefore able to market the earlier film retrospectively through Hitchcock’s later reputation.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eBen Hecht is similarly promoted through:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e「汚名」「嵐ヶ丘」のベン・ヘクト脚色\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eApproximately:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e“Screenplay by Ben Hecht of \u003cem\u003eNotorious\u003c\/em\u003e and \u003cem\u003eWuthering Heights\u003c\/em\u003e.”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eMost strikingly, the poster separately announces:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e超現実派のサルヴァドール・ダリ 特別装置\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eApproximately:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e“Special set design by the Surrealist Salvador Dalí.”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe Japanese distributor was not content merely to promote Hitchcock and the two stars. It foregrounded Dalí as an attraction in his own right, recognising that his involvement gave the film an additional claim to artistic and intellectual distinction.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe red Toho emblem appears at upper right, while the lower edge records:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eSRO提供 ★ 東宝株式会社配給\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e“Presented by SRO; distributed by Toho Co., Ltd.”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThese marks, together with the Japanese campaign typography and the film’s 1951 opening date, establish the poster as original first-release Japanese theatrical material.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eDesign highlights\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe composition is among the most ambitious Japanese poster treatments created for an early Hitchcock film.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAt its centre is an immense image of \u003cstrong\u003eIngrid Bergman as Dr. Constance Petersen\u003c\/strong\u003e, shown embracing a man whose face is almost entirely concealed. Bergman’s face is rendered on a monumental scale: softly modelled skin, carefully painted auburn hair, bright red lips and a striped blue-and-white ribbon combine to create an image of immediate glamour and emotional intensity.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eYet the embrace is not entirely reassuring.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe man’s hidden face denies the spectator the certainty normally supplied by a romantic image. He becomes an anonymous presence—lover, patient, impostor and potential murderer compressed into one obscured form.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eBergman appears to know him intimately, while the viewer is prevented from recognising him.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eBelow, \u003cstrong\u003eGregory Peck\u003c\/strong\u003e appears again in a separate portrait. He sits forward on a pale chair, one hand supporting his chin, his expression withdrawn and troubled. The earthy browns of his clothing and the angular shadows of his face contrast with the warm, luminous scale of Bergman above.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe composition therefore divides Peck into two states:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003ethe man held within the romantic embrace;\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eand\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003ethe solitary figure struggling beneath the weight of an inaccessible past.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis is not simply a conventional montage of two stars. It is a sophisticated visual translation of the film’s central problem: \u003cstrong\u003ecan the man Constance loves be reconciled with the unknown identity concealed inside him?\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe poster’s palette reinforces this psychological division.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eWarm peach, cream and auburn tones dominate Bergman’s portrait. Peck is rendered in muted brown, burgundy and blue. A deep field of near-black and navy occupies the right side, against which the monumental Japanese title appears in broken ivory-white forms.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe red English title:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eSPELLBOUND\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eis placed at upper left, edged with a pale green shadow and integrated into the English billing:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eDAVID O. SELZNICK presents\u003cbr\u003eINGRID BERGMAN\u003cbr\u003eGREGORY PECK\u003cbr\u003ein\u003cbr\u003eALFRED HITCHCOCK’S SPELLBOUND\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe mixture of English and Japanese typography reflects the prestige of an imported Hollywood production while giving the design an unmistakably local Japanese identity.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eThe Japanese title: 「白い恐怖」 — “White Fear”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe Japanese title is not a literal translation of \u003cem\u003eSpellbound\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e「白い恐怖」\u003c\/strong\u003e means approximately:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e“White Fear”\u003c\/strong\u003e or \u003cstrong\u003e“White Terror.”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt is an unusually perceptive adaptation because the colour white is central to the film’s psychological mystery.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eGregory Peck’s character suffers intense reactions when confronted with \u003cstrong\u003edark parallel lines against pale or white surfaces\u003c\/strong\u003e. Fork marks drawn across a white tablecloth, striped fabrics and tracks across snow trigger a terror whose origin he cannot consciously explain.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe Japanese title isolates that visual symptom and makes it the identity of the film.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eOn the poster, the phrase is introduced vertically in red:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eバーグマン・ペックの\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e“Bergman and Peck’s…”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003efollowed by the enormous white title characters:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e白い恐怖\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe characters do not appear as neat conventional lettering. They have been constructed from irregular, overlapping white blocks, interrupted by dark outlines and areas of shadow. Their edges resemble pieces of torn paper, fractured signs or disconnected fragments that have not yet been assembled into a stable whole.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThat typography can be read as a graphic equivalent of the film’s amnesia. The title is present, but visually dislocated. Like the protagonist’s memory, it exists in pieces awaiting interpretation.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe white forms also cross Bergman’s arm and the dark clothing of the hidden man, physically interrupting the embrace. Romance, fear and fractured identity are therefore brought together within the same visual field.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt is a superb example of Japanese title design doing more than simply translating words. The title becomes an active part of the film’s psychology.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eThe embrace and the divided mind\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe central embrace is both romantic and unsettling.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eBergman’s expression is warm, confident and almost triumphant. Her hand rests firmly across the man’s back, while her face is completely visible. She is the stable, recognisable presence within the image.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe man she holds remains faceless.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis reversal is particularly appropriate to \u003cem\u003eSpellbound\u003c\/em\u003e. Dr. Constance Petersen is not a passive heroine awaiting rescue. She is the analytical force of the story—the person who recognises that the apparent Dr. Edwardes is an impostor, identifies his amnesia and refuses to accept his own conviction that he must be a murderer.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe poster grants Bergman overwhelming scale and visibility, while Peck is alternately concealed and isolated.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe lower portrait reinforces his uncertainty. His eyes turn towards the viewer, but his closed posture suggests that he remains psychologically inaccessible even to himself. The chair’s pale rails divide the space around him like a restraint or frame.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eTaken together, the two images create a visual double portrait:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eBergman represents knowledge, attachment and determination.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003ePeck represents concealment, guilt and fractured memory.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe design therefore understands the emotional architecture of the film with unusual precision.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eThe Japanese advertising slogan\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eRunning across the top in large blue characters is the promotional line:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e知性と情熱の奔騰！愛の双曲線に奏でる甘美の大ロマン！\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eA natural approximation would be:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e“A torrent of intellect and passion! A magnificent, sensuous romance played upon love’s twin curves!”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe language is characteristically expansive, transforming the film into a grand collision of intellect, desire and romantic destiny.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe phrase is particularly appropriate to a story in which emotional and analytical impulses continually compete. Constance is trained to diagnose objectively, yet her pursuit of the truth is inseparable from her love for the man she is treating.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe reference to \u003cstrong\u003eintellect and passion\u003c\/strong\u003e therefore captures the film’s unusual mixture of psychoanalytic investigation and sweeping Hollywood romance.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIts typography also plays an important visual role. The blue headline forms a continuous band above the composition, counterbalancing the red and white title structures below and giving the poster the appearance of a large theatrical proclamation.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eA 1951 time capsule of Hitchcock’s Japanese reputation\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe poster records how Hitchcock was being positioned for Japanese audiences at a very particular moment.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eBy 1951, his name carried substantial commercial value. The left-side copy does not introduce him merely as the director of \u003cem\u003eSpellbound\u003c\/em\u003e. It defines him through \u003cstrong\u003e\u003cem\u003eRebecca\u003c\/em\u003e and \u003cem\u003eNotorious\u003c\/em\u003e\u003c\/strong\u003e—two works that had strengthened his reputation for sophisticated suspense, psychological danger and troubled romance.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis is possible only because of the delay between the film’s American production and its Japanese release.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eA poster produced in 1945 could not have referred to \u003cem\u003eNotorious\u003c\/em\u003e. The Japanese first-release campaign of 1951 can, creating a fascinating reversal in which a later Hitchcock film is used to authenticate and sell an earlier one.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe same temporal layering appears in the promotion of Ingrid Bergman and Gregory Peck.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eBy the time this poster reached Japanese cinemas, Bergman was already one of Hollywood’s defining international stars, associated with \u003cem\u003e\u003cstrong\u003eCasablanca, Gaslight, Notorious\u003c\/strong\u003e\u003c\/em\u003e and \u003cem\u003e\u003cstrong\u003eJoan of Arc\u003c\/strong\u003e\u003c\/em\u003e. Peck had rapidly emerged as one of the leading actors of the post-war period.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eTheir surnames did not need to be explained. The poster could announce simply:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eバーグマン・ペックの\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e“Bergman and Peck’s…”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe pair had become the attraction.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe result is a poster that belongs both to the film’s original Japanese release and to the mature international fame its participants had accumulated by 1951.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eSalvador Dalí as a theatrical attraction\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe explicit promotion of \u003cstrong\u003eSalvador Dalí\u003c\/strong\u003e is one of the poster’s most compelling details.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eDalí was engaged to devise the imagery for the film’s dream sequence, in which the protagonist’s repressed memory is translated into a succession of apparently disconnected symbolic images.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe surviving sequence contains some of the film’s most celebrated visual material: enormous staring eyes, scissors slicing through painted vision, blank or masked faces, card tables, distorted architectural spaces and objects arranged according to dream logic rather than physical reality.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe imagery is recognisably Dalínian, but it also serves the machinery of Hitchcock’s mystery. The dream is not merely decorative Surrealism. Its strange details contain evidence, and Constance must interpret them to reconstruct a real event.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe Japanese poster understands the commercial importance of the collaboration.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe vertical copy:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e超現実派のサルヴァドール・ダリ 特別装置\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003epresents Dalí not as an obscure production technician but as \u003cstrong\u003e“the Surrealist Salvador Dalí,”\u003c\/strong\u003e whose name itself promises something unprecedented.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis credit significantly broadens the poster’s collector audience. It is original Japanese Hitchcock paper, but it is also period publicity documenting one of the most famous encounters between European modern art and classical Hollywood cinema.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eCrucially, no claim is made that Dalí designed this poster. His involvement was with the film’s dream sequence. The Japanese poster artist remains unidentified.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eHitchcock, Selznick and psychoanalysis\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cem\u003eSpellbound\u003c\/em\u003e emerged from the creative tension between Alfred Hitchcock and producer \u003cstrong\u003eDavid O. Selznick\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eSelznick was deeply interested in psychoanalysis and sought to build a major suspense picture around its ideas. The project drew upon the 1927 novel \u003cem\u003e\u003cstrong\u003eThe House of Dr. Edwardes\u003c\/strong\u003e\u003c\/em\u003e, published under the name Francis Beeding, although Ben Hecht’s screenplay transformed the source substantially.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe film introduces Dr. Constance Petersen, a gifted psychoanalyst working at the Green Manors psychiatric institution. The arrival of the young Dr. Anthony Edwardes disrupts both the hospital and her carefully controlled emotional life.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eConstance soon discovers that the newcomer is not Edwardes at all.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eHe is an amnesiac who has assumed another man’s identity and believes himself responsible for the real Edwardes’s death. His knowledge, reflexes and recurring terror suggest that a buried trauma lies behind both his memory loss and his conviction of guilt.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eConstance chooses to trust the evidence of his subconscious rather than his conscious confession.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eWhat follows combines psychoanalytic investigation with several classic Hitchcock structures: the innocent man under suspicion, the fugitive couple, the pursuit across landscapes, concealed identity and a final confrontation in which recovered perception exposes the real criminal.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe psychology is presented through the heightened language of 1940s popular cinema rather than modern clinical realism. Its importance lies in the way Hitchcock turns analysis into suspense. Dreams, visual triggers, slips of memory and apparently insignificant objects become clues.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe mind itself becomes the crime scene.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eIngrid Bergman: reason, courage and romantic conviction\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eBergman’s dominant scale on the poster reflects the centrality of her performance.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAs Dr. Constance Petersen, she plays a woman initially defined by intellectual control. Her colleagues regard her as emotionally remote, but the film gradually reveals that professional discipline and profound feeling are not opposites.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eHer love for Peck’s character does not reduce her analytical intelligence. It drives her to use it.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eShe identifies the inconsistency in his signature, recognises the nature of his phobia, decodes his dream and rejects his own belief that guilt must equal culpability. In narrative terms, she is investigator, doctor and rescuer.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe Japanese composition gives her the visual authority of the protagonist.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eHer face is the largest single element on the sheet. Her eyes remain alert even within the embrace, and the painting avoids presenting her as simply overwhelmed by romance. She appears active, assured and psychologically present.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eBy the time of the Japanese release, Bergman was already among the most celebrated actors in world cinema. The poster uses that recognition unapologetically: her face provides glamour, prestige and emotional immediacy before a viewer reads a single line of copy.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eGregory Peck: the man without a stable identity\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003ePeck’s role depends upon uncertainty.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eHe must appear persuasive enough to be accepted as the distinguished Dr. Edwardes, vulnerable enough to inspire Constance’s faith, and psychologically disturbed enough to remain a plausible suspect.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe Japanese poster represents these contradictions through physical separation.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eWithin the embrace, his face disappears. In the lower portrait, he is exposed but alone, leaning forward with an expression of guarded melancholy.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe viewer is therefore given two versions of the same man without being told how they fit together.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis visual split closely reflects the story. Is he Edwardes? An impostor? A murderer? A patient? Or an innocent man whose identity has been concealed from him by trauma?\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe poster offers no answer. It preserves the mystery in the arrangement of the stars themselves.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eThe dream rendered as evidence\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe dream sequence is central to the film’s continuing reputation because it converts abstract psychological material into a concrete visual puzzle.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eInstead of soft focus, mist or conventional fantasy imagery, Dalí supplied hard edges, oversized objects and spaces of unsettling clarity. The dream world appears exposed rather than vague.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThat decision suits Hitchcock’s narrative purpose.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe symbols must be strange enough to belong to a repressed memory, but specific enough to be decoded. Eyes, cards, slopes, wheels and faceless figures eventually lead Constance towards an actual location and event.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe sequence therefore sits at an unusual point between \u003cstrong\u003eSurrealist art and detective procedure\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe Japanese poster does not reproduce Dalí’s exact dream imagery. Instead, its own design adopts a related principle of fragmentation. The giant white title is broken apart, the central male face is withheld, and Peck appears twice in psychologically incompatible forms.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eWithout imitating Dalí, the poster develops its own visual language of divided identity and incomplete evidence.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eMiklós Rózsa and the sound of the subconscious\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe film’s music was composed by \u003cstrong\u003eMiklós Rózsa\u003c\/strong\u003e, whose score became one of the defining achievements of his Hollywood career.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eRózsa integrated the eerie electronic tone of the \u003cstrong\u003etheremin\u003c\/strong\u003e into the orchestral writing, using its unstable, disembodied sound to accompany states of psychological disturbance and repressed fear.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe instrument does not simply announce supernatural danger. In \u003cem\u003eSpellbound\u003c\/em\u003e, it suggests something internal—an alarm arising from the subconscious before the conscious mind understands its source.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eRózsa’s work received the \u003cstrong\u003eAcademy Award for Best Music Score of a Dramatic or Comedy Picture\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe score’s influence extended beyond the film. Its use of electronic sound helped establish a musical vocabulary later associated with psychological instability, science fiction and uncanny states of mind.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAlthough the poster is a silent object, its sweeping forms and florid top slogan suggest the same fusion of intellect, romance and unease that Rózsa’s music supplies to the film.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eAwards and cinematic legacy\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cem\u003eSpellbound\u003c\/em\u003e received \u003cstrong\u003esix Academy Award nominations\u003c\/strong\u003e, including:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eBest Motion Picture\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eBest Director — Alfred Hitchcock\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eBest Supporting Actor — Michael Chekhov\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eBest Black-and-White Cinematography — George Barnes\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eBest Special Effects\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eBest Music Score — Miklós Rózsa\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eRózsa won for his score.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe film remains important as an unusually ambitious intersection of commercial Hollywood filmmaking, psychoanalytic fashion, romantic melodrama, Surrealist art and Hitchcockian suspense.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIts ideas about psychiatry belong visibly to the period in which it was made, but its central dramatic proposition remains potent: \u003cstrong\u003ememory can conceal the truth not because the mind is empty, but because it is protecting itself from what it cannot bear to confront\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe film also anticipates later Hitchcock works built around unstable or reconstructed identity. Its concern with looking beneath an apparently convincing surface connects it to \u003cem\u003e\u003cstrong\u003eVertigo, Marnie\u003c\/strong\u003e\u003c\/em\u003e and other films in which desire and psychological interpretation become dangerously entangled.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eWithin Hitchcock’s career, it occupies a distinctive position between the Gothic atmosphere of \u003cem\u003eRebecca\u003c\/em\u003e and the more overtly modern romantic suspense of \u003cem\u003eNotorious\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eHitchcock in Japan\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eHitchcock’s reputation in Japan had begun developing before the Second World War through the circulation of his British thrillers. By the early 1950s, however, he was increasingly being presented not merely as a competent suspense director but as a recognisable creative personality.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis poster makes that authorship unmistakable.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe English title block states:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eALFRED HITCHCOCK’S SPELLBOUND\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003ewhile the vertical Japanese copy explicitly links him with \u003cem\u003eRebecca\u003c\/em\u003e and \u003cem\u003eNotorious\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eHis name functions alongside those of Bergman and Peck as one of the principal attractions.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThat emphasis is important within the history of Japanese imported-film advertising. Many posters sold Hollywood productions primarily through stars or spectacle. Here, the director, screenwriter, producer and even the designer of the dream sequence are promoted as creative figures.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe poster therefore reflects an audience expected to recognise more than faces. It appeals to knowledge of Hitchcock’s previous films, Hecht’s screenwriting and Dalí’s identity as a Surrealist.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt is unusually literate publicity for a film that itself promises a union of intellectual mystery and emotional intensity.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eA global collector audience\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe poster’s appeal extends far beyond conventional Hitchcock collecting.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eFor \u003cstrong\u003eIngrid Bergman collectors\u003c\/strong\u003e, it presents one of the most commanding Japanese portraits created for her Hollywood career.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eFor \u003cstrong\u003eGregory Peck collectors\u003c\/strong\u003e, it captures him at the beginning of his international stardom in a role built around vulnerability rather than conventional heroism.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eFor \u003cstrong\u003eDalí and Surrealism specialists\u003c\/strong\u003e, it is original period publicity that prominently advertises the artist’s participation in one of Hollywood’s best-known dream sequences.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eFor collectors of \u003cstrong\u003eclassic Hollywood, film noir-adjacent imagery, psychoanalytic culture and post-war Japanese design\u003c\/strong\u003e, it offers a composition with no close equivalent in the familiar American campaign.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe poster is also notable as an object of graphic translation. The American title \u003cem\u003eSpellbound\u003c\/em\u003e becomes \u003cstrong\u003e白い恐怖\u003c\/strong\u003e, and the Japanese designer rebuilds the film around a specifically visual conception of whiteness, fear and fragmented memory.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIts importance therefore lies not only in rarity, but in interpretation. It shows how a Japanese campaign could take a canonical Hollywood film and create an image that is psychologically distinct, culturally specific and fully independent as graphic art.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eExtreme rarity and collector significance\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eOriginal Japanese B2 posters for imported films released during the early post-war period survive in extremely small numbers.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThey were working theatrical materials, distributed for a limited domestic campaign and rarely preserved systematically once a film’s engagement ended. Most were folded, displayed, handled repeatedly and eventually discarded.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis example is especially scarce because it belongs to the film’s delayed \u003cstrong\u003e1951 first Japanese release\u003c\/strong\u003e, not to a later retrospective or revival.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003ePublicly traceable examples of this exact design are exceptionally limited. In our experience, it is among the rarest early Japanese Hitchcock B2s, considerably less frequently encountered than American or European material for the same film.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIts collector importance rests on an unusual conjunction:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003eoriginal first-release Japanese status;\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ea canonical Hitchcock title;\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003emonumental Ingrid Bergman artwork;\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ea psychologically sophisticated Gregory Peck composition;\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003ea prominent original Salvador Dalí credit;\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003edistinctive Japanese title typography;\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003estrong surviving colour;\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003eand \u003cstrong\u003eExcellent vintage condition on its original, unbacked paper.\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp dir=\"auto\"\u003eThe image is sufficiently accomplished to stand independently as Japanese graphic art, even before its considerable cinematic associations are taken into account.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eExcellent vintage condition\u003c\/strong\u003e, presenting beautifully for an original Japanese theatrical poster dating from 1951.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe poster retains \u003cstrong\u003estrong, attractive colour\u003c\/strong\u003e, particularly across Ingrid Bergman’s auburn hair and complexion, Gregory Peck’s portrait, the deep navy field, the red-and-green English title and the blue, red and black Japanese typography.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThere is \u003cstrong\u003eno meaningful fading apparent\u003c\/strong\u003e. The principal portraits, Japanese title, English billing, Dalí credit, Toho emblem, SRO mark and distribution information remain complete and clearly legible.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe poster was historically folded and retains its original vertical and horizontal fold lines, with light associated fold wear, minor surface rubbing and small handling creases. These are normal storage characteristics for Japanese theatrical paper of this period.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThere is light age toning, principally visible in the cream-coloured areas and on the reverse, together with scattered minor marks, gentle surface undulation and limited edge and corner wear.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eNo major tears, substantial paper loss or visually disruptive damage are apparent. The sheet remains complete and structurally coherent.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe reverse is notably clean for its age, with light toning, a small number of incidental marks and extensive pale show-through from the strongly printed face. This reversed imagery is principally the result of the thin original paper and should not be mistaken for a second printing.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe poster is offered on its \u003cstrong\u003eoriginal, unbacked paper\u003c\/strong\u003e. \u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe historic folds remain visible, but the composition is so strong and the image so densely structured that they recede substantially at normal display distance.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eOverall, this is an \u003cstrong\u003eexceptionally attractive surviving example with museum-quality display presence\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003ePlease review the photographs carefully, as they show the \u003cstrong\u003eexact poster for sale\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eProvenance\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAcquired in Japan from a private collection, and offered from the \u003cstrong\u003eJapan Poster Shop archive\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe poster has been preserved on its original, unbacked paper. \u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe complete front, detail and reverse photography has been retained as part of the poster’s condition and provenance record.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eAuthentication\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eGuaranteed original; an authentic \u003cstrong\u003e1951 first-release Japanese B2 for Alfred Hitchcock’s\u003c\/strong\u003e \u003cem\u003e\u003cstrong\u003eSpellbound\u003c\/strong\u003e\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis is:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cstrong\u003enot a poster printed for the film’s 1945 American release;\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003enot a later Japanese revival or retrospective issue;\u003c\/strong\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cstrong\u003enot a modern reproduction or commemorative printing.\u003c\/strong\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eAbout Japanese B2 posters\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe Japanese B2—approximately \u003cstrong\u003e20 × 29 inches\u003c\/strong\u003e—was the principal theatrical poster format used inside and around Japanese cinemas.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThese posters were produced as temporary commercial advertisements rather than objects intended for long-term collecting. They were commonly folded for distribution, handled by cinema employees, placed in lobby cases, pinned or pasted for display and discarded after the end of a film’s engagement.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eSurvival rates for early post-war examples are consequently extremely low.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eFirst-release Japanese posters for imported Hollywood films are particularly scarce because they were created for geographically limited domestic campaigns and were seldom preserved by the studios, distributors or theatres that used them.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eJapanese B2s also frequently employ imagery and typography entirely different from the better-known American and European campaigns. They do not simply translate a film’s title. At their best, they offer an independent visual interpretation shaped by Japanese promotional language, design conventions and contemporary audience knowledge.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis poster is an exceptional example of that process.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt transforms \u003cem\u003eSpellbound\u003c\/em\u003e into \u003cstrong\u003e「白い恐怖」—“White Fear”\u003c\/strong\u003e; gives Ingrid Bergman overwhelming emotional and visual authority; splits Gregory Peck into concealed lover and troubled solitary figure; foregrounds Salvador Dalí as a major creative attraction; and fractures the Japanese title into a monumental image of unstable identity.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAn ultra-rare, museum-grade \u003cstrong\u003etime capsule of Alfred Hitchcock, Ingrid Bergman, Gregory Peck, Salvador Dalí and the post-war Japanese reception of classical Hollywood cinema\u003c\/strong\u003e.\u003c\/p\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":57287114457466,"sku":null,"price":7950.0,"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_235f356f-03bf-4c8c-b480-fd646ed76ad8.jpg?v=1789900296","url":"https:\/\/japanposter.co.uk\/products\/rear-window-original-first-release-japanese-movie-poster-1954-ultra-rare-stb-size-51x145cm-copy","provider":"Japan Poster Shop","version":"1.0","type":"link"}