{"product_id":"senso-夏の嵐-ultra-rare-original-japanese-b2-first-release-poster-1955-first-japanese-release-october-1955-approx-20-3-28-7-in-51-5-72-8-cm","title":"“Senso” (夏の嵐), Ultra‑Rare Original Japanese B2 First‑Release Poster — 1955 First Japanese Release (October 1955) — approx. 20.3 × 28.7 in (51.5 × 72.8 cm) P255","description":"\u003cp data-start=\"164\" data-end=\"713\"\u003eThis is an \u003cstrong data-start=\"175\" data-end=\"203\"\u003eoriginal Japanese poster\u003c\/strong\u003e printed for the film’s \u003cstrong data-start=\"227\" data-end=\"264\"\u003efirst Japanese theatrical release\u003c\/strong\u003e. \u003cspan class=\"\" data-state=\"closed\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"715\" data-end=\"1248\"\u003e\u003cstrong data-start=\"715\" data-end=\"733\"\u003eAbout the film\u003c\/strong\u003e\u003cbr data-start=\"733\" data-end=\"736\"\u003eDirected by \u003cstrong data-start=\"748\" data-end=\"768\"\u003eLuchino Visconti\u003c\/strong\u003e and adapted from \u003cstrong data-start=\"786\" data-end=\"803\"\u003eCamillo Boito\u003c\/strong\u003e with screenplay contributions from \u003cstrong data-start=\"839\" data-end=\"862\"\u003eSuso Cecchi D’Amico\u003c\/strong\u003e, \u003cstrong data-start=\"864\" data-end=\"883\"\u003eCarlo Alianello\u003c\/strong\u003e, \u003cstrong data-start=\"885\" data-end=\"904\"\u003eGiorgio Bassani\u003c\/strong\u003e, and \u003cstrong data-start=\"910\" data-end=\"930\"\u003eGiorgio Prosperi\u003c\/strong\u003e, \u003cstrong data-start=\"932\" data-end=\"941\"\u003eSenso\u003c\/strong\u003e stars \u003cstrong data-start=\"948\" data-end=\"963\"\u003eAlida Valli\u003c\/strong\u003e, \u003cstrong data-start=\"965\" data-end=\"983\" data-is-only-node=\"\"\u003eFarley Granger\u003c\/strong\u003e, and \u003cstrong data-start=\"989\" data-end=\"1008\"\u003eMassimo Girotti\u003c\/strong\u003e. Set in \u003cstrong data-start=\"1017\" data-end=\"1025\"\u003e1866\u003c\/strong\u003e against Austrian occupation and the upheaval of Italian unification, it follows an Italian countess whose torrid affair with an Austrian lieutenant drives her toward betrayal and ruin. \u003cspan class=\"\" data-state=\"closed\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"1250\" data-end=\"1981\"\u003e\u003cstrong data-start=\"1250\" data-end=\"1295\"\u003eThe Film \u0026amp; Its Place in Visconti’s Legacy\u003c\/strong\u003e\u003cbr data-start=\"1295\" data-end=\"1298\"\u003eThis film is one of the decisive turning points in Visconti’s career. Japanese distributor IVC describes it as his \u003cstrong data-start=\"1413\" data-end=\"1433\"\u003efirst color film\u003c\/strong\u003e and one of the defining works of his middle period, uniting operatic splendor with the hard realism of his earlier cinema; BFI likewise identifies it as Visconti’s \u003cstrong data-start=\"1598\" data-end=\"1622\"\u003efirst film in colour\u003c\/strong\u003e, while Criterion presents it as the lush Technicolor tragedy in which the former neorealist moved into boldly melodramatic territory. In other words, \u003cstrong data-start=\"1773\" data-end=\"1782\"\u003eSenso\u003c\/strong\u003e is not simply an early Visconti title—it is the moment the later Visconti of \u003cstrong data-start=\"1860\" data-end=\"1875\"\u003eThe Leopard\u003c\/strong\u003e and the great aristocratic historical dramas truly comes into view. \u003cspan class=\"\" data-state=\"closed\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"1983\" data-end=\"2520\"\u003e\u003cstrong data-start=\"1983\" data-end=\"2001\"\u003eSenso in Japan\u003c\/strong\u003e\u003cbr data-start=\"2001\" data-end=\"2004\"\u003eWhat makes this Japanese paper especially appealing is the way the original campaign reframed the film for local audiences. The sheet preserves the official Japanese title \u003cstrong data-start=\"2176\" data-end=\"2183\"\u003e夏の嵐\u003c\/strong\u003e while also printing the striking period subtitle \u003cstrong data-start=\"2233\" data-end=\"2241\"\u003e官能の夜\u003c\/strong\u003e, and the copy at upper left sells the picture as a blazing Venetian romance of doomed passion. Rather than emphasizing political history first, the Japanese design foregrounds \u003cstrong data-start=\"2418\" data-end=\"2456\"\u003edesire, fatalism, and star glamour\u003c\/strong\u003e—a perfect fit for Visconti’s fusion of spectacle and obsession.\u003c\/p\u003e\n\u003cp data-start=\"2522\" data-end=\"3161\"\u003e\u003cstrong data-start=\"2522\" data-end=\"2539\"\u003ePoster design\u003c\/strong\u003e\u003cbr data-start=\"2539\" data-end=\"2542\"\u003eA spectacular, unmistakably \u003cstrong data-start=\"2570\" data-end=\"2606\"\u003ecountry-specific Japanese design\u003c\/strong\u003e gives the film a display power very different from standard European paper. The composition is dominated by a huge, luminous portrait of \u003cstrong data-start=\"2744\" data-end=\"2759\"\u003eAlida Valli\u003c\/strong\u003e, seated with hairbrush in hand against a deep crimson ground, while \u003cstrong data-start=\"2828\" data-end=\"2846\"\u003eFarley Granger\u003c\/strong\u003e appears beside her in white and a smaller inset vignette at lower right hints at the lovers’ doomed encounter. The oversized red title \u003cstrong data-start=\"2982\" data-end=\"2989\"\u003e夏の嵐\u003c\/strong\u003e, the elegant green ornamental flourishes, and the smaller \u003cstrong data-start=\"3048\" data-end=\"3056\"\u003e官能の夜\u003c\/strong\u003e line below transform Visconti’s historical melodrama into a bold piece of mid-1950s Japanese poster art.\u003c\/p\u003e\n\u003cp data-start=\"3163\" data-end=\"3938\"\u003e\u003cstrong data-start=\"3163\" data-end=\"3200\"\u003eWhy collectors prize this example\u003c\/strong\u003e\u003cbr data-start=\"3200\" data-end=\"3203\"\u003eCollectors respond strongly to \u003cstrong data-start=\"3234\" data-end=\"3243\"\u003eSenso\u003c\/strong\u003e because it brings together several enduring points of appeal in one original Japanese first-release sheet: \u003cstrong data-start=\"3351\" data-end=\"3389\"\u003eVisconti’s first color masterpiece\u003c\/strong\u003e, \u003cstrong data-start=\"3391\" data-end=\"3425\"\u003eAlida Valli at her most iconic\u003c\/strong\u003e, \u003cstrong data-start=\"3427\" data-end=\"3480\"\u003eFarley Granger in one of his great European roles\u003c\/strong\u003e, and a film now widely regarded as a key work in the director’s evolution. This B2 adds another layer of desirability because it is not routine export paper but a \u003cstrong data-start=\"3644\" data-end=\"3684\"\u003efirst-release Japanese-market design\u003c\/strong\u003e with its own typography, its own subtitle treatment, and its own original distribution markings. For collectors of \u003cstrong data-start=\"3800\" data-end=\"3812\"\u003eVisconti\u003c\/strong\u003e, \u003cstrong data-start=\"3814\" data-end=\"3832\"\u003eItalian cinema\u003c\/strong\u003e, and \u003cstrong data-start=\"3838\" data-end=\"3869\"\u003evintage Japanese poster art\u003c\/strong\u003e, it has real crossover appeal. \u003cspan class=\"\" data-state=\"closed\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"3940\" data-end=\"4749\"\u003e\u003cstrong data-start=\"3940\" data-end=\"3953\"\u003eCondition\u003c\/strong\u003e\u003cbr data-start=\"3953\" data-end=\"3956\"\u003e\u003cstrong data-start=\"3956\" data-end=\"3993\"\u003eRemarkably excellent for its age.\u003c\/strong\u003e With only very minor, soft handling creasing visible chiefly on close inspection. The front remains unusually fresh and highly displayable, with \u003cstrong data-start=\"4202\" data-end=\"4280\"\u003erich saturated color, a clean overall appearance, and strong visual impact\u003c\/strong\u003e. The blank verso shows the expected signs of age and storage more clearly than the front, including even toning, pronounced image show-through, fold impressions, and some light superficial scuffing\/soiling concentrated toward the upper margin and left side. Overall, however, this is an exceptionally well-preserved example for a \u003cstrong data-start=\"4611\" data-end=\"4632\"\u003e1950s Japanese B2\u003c\/strong\u003e, with outstanding wall presence. Please review the supplied photographs carefully—shown is the exact poster offered.\u003c\/p\u003e\n\u003cp data-start=\"4751\" data-end=\"4793\"\u003eIt is \u003cstrong data-start=\"4757\" data-end=\"4792\"\u003enot a reproduction or a reprint\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp data-start=\"4795\" data-end=\"5145\"\u003eA rare opportunity to acquire an \u003cstrong data-start=\"4828\" data-end=\"4879\"\u003eoriginal first-release Japanese Senso B2 poster\u003c\/strong\u003e—a beautifully preserved, visually sumptuous 1955 sheet for one of \u003cstrong data-start=\"4946\" data-end=\"4985\"\u003eVisconti’s foundational masterworks\u003c\/strong\u003e, pairing \u003cstrong data-start=\"4995\" data-end=\"5010\"\u003eAlida Valli\u003c\/strong\u003e, \u003cstrong data-start=\"5012\" data-end=\"5030\"\u003eFarley Granger\u003c\/strong\u003e, and the lush fatalism of \u003cstrong data-start=\"5057\" data-end=\"5064\"\u003e夏の嵐\u003c\/strong\u003e with a strikingly elegant Japanese design.\u003c\/p\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":56749745471866,"sku":null,"price":1450.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/wall-shelf-with-ornaments-2026-03-28T133113.106.jpg?v=1774672475","url":"https:\/\/japanposter.co.uk\/products\/senso-%e5%a4%8f%e3%81%ae%e5%b5%90-ultra-rare-original-japanese-b2-first-release-poster-1955-first-japanese-release-october-1955-approx-20-3-28-7-in-51-5-72-8-cm","provider":"Japan Poster Shop","version":"1.0","type":"link"}