{"product_id":"suspicion-断崖-ultra-rare-original-japanese-first-release-movie-poster-1947-b3-size-alfred-hitchcock-excellent-condition-gallery","title":"“Suspicion” (断崖), Ultra-Rare Original Japanese First-Release Movie Poster 1947, B3 Size, Alfred Hitchcock, Excellent+ Condition (Gallery)","description":"\u003cp data-pm-slice=\"1 1 []\"\u003e\u003cspan\u003eAn exceptionally scarce \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eoriginal Japanese B3 poster\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e for Alfred Hitchcock’s \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eSuspicion\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, starring \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eCary Grant and Joan Fontaine\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. Printed for the film’s \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e1947 first Japanese theatrical release\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, this striking sheet belongs to the earliest years of Hollywood’s return to Japanese cinemas after the Second World War.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThis is the earliest Japanese Hitchcock poster we have ever seen or handled.\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Its enormous ochre-and-black title, dramatic photographic image of Grant and Fontaine, illustrated cliff face, and original \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eRKO Radio Pictures and Motion Picture Export Association markings\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e make it an especially compelling survivor of early postwar film advertising.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOffered in \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eExcellent+ condition for its age\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, the poster retains strong printing, distinctive period character and considerable visual impact. For collectors of Hitchcock, Cary Grant, Joan Fontaine and early Japanese theatrical material, it represents an unusually significant discovery.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eDate \u0026amp; Japanese Theatrical Release\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan\u003eSuspicion\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e was originally released in the United States in \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e1941\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. Its first Japanese theatrical release followed on \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e11 February 1947\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, under the title \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e断崖 — Dangai\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, meaning \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“Cliff” or “Precipice.”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe intervening years are important to the poster’s historical context. The film reached Japanese audiences during the Allied Occupation, as American pictures returned to commercial exhibition following the wartime interruption.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThis sheet was printed for that original 1947 first-release campaign\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, retaining its period RKO branding, MPEA export seal and distinctive Japanese typography.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eB3 format\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, with standard dimensions of approximately \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e36.4 × 51.5 cm \/ 14.3 × 20.3 inches\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, gives the composition a concentrated scale: the Japanese title occupies an extraordinary proportion of the sheet, while the principal actors remain immediately recognisable below.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eAbout the Film\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDirected by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eAlfred Hitchcock\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e for \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eRKO Radio Pictures\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eSuspicion\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e follows \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eLina McLaidlaw\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, a sheltered young woman who falls in love with the charming and apparently irresistible \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eJohnnie Aysgarth\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. After their marriage, she discovers that his effortless sophistication conceals debts, dishonesty and financial dependence.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAs his explanations become increasingly difficult to believe, Lina begins to fear that the man she loves may be capable of murder—and that she could become his next victim.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAdapted from \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eFrancis Iles’s novel \u003c\/span\u003e\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e\u003cspan\u003eBefore the Fact\u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cspan\u003e, the screenplay was written by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eSamson Raphaelson, Joan Harrison and Alma Reville\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. The supporting cast includes \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eNigel Bruce, Sir Cedric Hardwicke and Dame May Whitty\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, with cinematography by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eHarry Stradling\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and music by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eFranz Waxman\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe film builds its suspense through uncertainty. A gesture, an unanswered question or an ordinary domestic object can acquire a threatening significance when seen through Lina’s increasingly anxious perspective. Its celebrated glass-of-milk sequence remains an especially memorable demonstration of Hitchcock’s ability to make something familiar appear sinister.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThe Film’s Reception \u0026amp; Hitchcock’s Early Hollywood Years\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan\u003eSuspicion\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e belongs to \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eHitchcock’s early Hollywood period\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. Already established through his British films, he was developing the American career that would produce many of cinema’s most celebrated psychological thrillers.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt marked \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ehis first collaboration with Cary Grant\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, beginning a partnership that later produced \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eNotorious\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eTo Catch a Thief\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eNorth by Northwest\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e. Here, Grant’s familiar charm becomes a source of unease: the qualities that make Johnnie attractive also make his motives difficult to judge.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eJoan Fontaine\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, the film followed her leading role in Hitchcock’s \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eRebecca\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e. Her performance in \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eSuspicion\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e won the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eAcademy Award for Best Actress at the 1942 ceremony\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, and remains \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ethe only acting performance in a Hitchcock-directed film to win an Oscar\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe film received \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ethree Academy Award nominations\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, including \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eBest Picture\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eFranz Waxman’s dramatic score\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts Japanese reception is particularly relevant to this poster. \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eSuspicion was ranked the No. 1 foreign film in the 1947 Kinema Junpo Best Ten\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, placing it at the head of one of Japan’s most important annual critical selections during its first local release.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAlthough its ending has long prompted debate, the film’s manipulation of trust, romantic attraction and fear remains central to its reputation. This poster therefore represents a film that enjoyed substantial recognition in Japan at the very moment it entered the country’s theatrical culture.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRKO, MPEA \u0026amp; Early Postwar Japan\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTwo printed identifiers give the sheet particular historical interest.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eRKO Radio Pictures emblem\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, positioned beside the Japanese title, identifies the American studio behind the film. The upper-left line reinforces this with:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e「R・K・Oラジオ映画」\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003e“An RKO Radio Picture.”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNear the lower edge appears the circular \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eMotion Picture Export Association, Inc. — MPEA — seal\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe MPEA was established by the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eMotion Picture Association of America in 1945\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e to promote American films overseas. In occupied Japan, its activities were closely connected with \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eCentral Motion Picture Exchange — CMPE\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, commonly known as \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eセントラル\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, through which American films were distributed during this period.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe emblem is therefore \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ean export and distribution marking\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, rather than an age-classification certificate.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTogether, the RKO and MPEA markings connect the poster to the organisation of Hollywood’s international distribution in the immediate postwar years. They are especially evocative on a sheet produced for a Japanese release in early 1947, less than eighteen months after the end of the war.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003ePoster Design\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eMonumental Japanese title:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e The two characters \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e断崖\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e dominate the upper half of the poster. Printed in warm ochre with deep black shadows, the lettering appears almost sculptural. Its angular forms and exaggerated depth give a relatively compact B3 sheet remarkable authority.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTypography echoed in the landscape:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e The illustrated cliff along the right edge provides a direct visual expression of the Japanese title. Its broken planes, dark recesses and brown tones echo the massive shaded characters above, linking the lettering and illustration into a coherent composition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eGrant and Fontaine in an ambiguous encounter:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e The lower section presents a large photographic image of the two stars. Fontaine leans towards Grant as he holds her forearm, creating an exchange that can suggest reassurance, restraint or distress. That ambiguity is particularly appropriate to a film built around uncertainty within a marriage.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eHitchcock prominently billed:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e The director’s name runs across the top of the sheet in bold Japanese lettering. Its scale makes authorship a major part of the advertisement, alongside the title and star image.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eA restrained, distinctive palette:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Ochre, brown and black are relieved by muted green-grey strokes across the background. Against the warm tone of the surviving paper, these colours give the design an atmospheric, almost weathered quality that complements its cliffside imagery.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eBilingual presentation:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e The tall, condensed English \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“SUSPICION”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e sits beneath the Japanese title and headline. It provides a strong horizontal counterpoint to the vertical cast billing and the cliff rising along the right-hand edge.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn our opinion, the design’s particular strength lies in how effectively it brings together \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003epsychological tension, dramatic typography and the literal imagery of the Japanese title\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eJapanese Text \u0026amp; Translation\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe headline beneath the title reads:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e「最愛の良人が！妾を殺そうとしてゐる!!」\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003e“My beloved husband is trying to kill me!!”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis places the advertisement directly within the wife’s fearful perspective. The older wording—\u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e良人\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e for “husband,” \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e妾\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e as a feminine first-person pronoun, and \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eゐる\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e in place of modern \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eいる\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e—adds distinctive period character.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAcross the top:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e「アルフレッド ヒッチコック監督」\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003e“Directed by Alfred Hitchcock.”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe vertical billing names \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eCary Grant and Joan Fontaine\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, with an accompanying notice highlighting Fontaine’s achievement:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e「この映画に依りアカデミイ主演女優賞獲得」\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003e“Winner of the Academy Award for Best Actress for this film.”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe campaign thus combines a forceful promise of suspense with the prestige of an Academy Award-winning performance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eRarity \u0026amp; Collector Significance\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eOriginal Japanese Hitchcock material from the immediate postwar years is exceptionally difficult to encounter.\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e This B3 is the earliest Japanese poster for the director that we have personally seen or handled.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTo the best of our knowledge, we are not aware of another example of this particular B3 design having appeared at public auction or in a publicly documented sale in either Japan or the West.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts significance rests on the combination of its \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e1947 first Japanese release\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, distinctive artwork, period distribution markings and preservation. It brings together \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eHitchcock’s first film with Cary Grant\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eJoan Fontaine’s Oscar-winning performance\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, and a film that received \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eJapan’s highest Kinema Junpo foreign-film ranking for 1947\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLike other scarce Japanese theatrical sheets from the first years after the war, it was created as temporary publicity. Its survival nearly eight decades later makes it a tangible record of how Hollywood cinema was presented to Japanese audiences during a period of profound change.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eCondition\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eExcellent+ condition for its age.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe poster remains \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eunbacked\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, retaining the surface and texture of its original paper.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003ePrinting and colour:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e The ochre title and deep black shadows remain strong and clearly defined. The photographic image of Grant and Fontaine retains good detail, while the quieter green-grey background accents remain visible.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eEdges and surface:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Minor edge and corner wear, a few tiny pinholes \/ paper pricks, and isolated small marks are visible in the detailed photographs.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003ePaper and verso:\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e The paper shows age toning, including some variation around the margins. The plain reverse retains visible image show-through, fold impressions and light age-related marking.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese signs of age and use are consistent with the poster’s history as a surviving theatrical advertisement. The principal lettering, star image and overall composition remain particularly effective.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePlease review all supplied photographs carefully. They show the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eexact poster offered\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, including the front, reverse and detailed condition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis is an \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eoriginal Japanese theatrical poster printed for the film’s first Japanese release in 1947\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eIt is \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003enot a reproduction or a modern reprint\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eCertificate of Authenticity included.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":57533372334458,"sku":null,"price":6375.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/Scanfrom2026-11-0912_38_26PM_1.jpg?v=1794205240","url":"https:\/\/japanposter.co.uk\/products\/suspicion-%e6%96%ad%e5%b4%96-ultra-rare-original-japanese-first-release-movie-poster-1947-b3-size-alfred-hitchcock-excellent-condition-gallery","provider":"Japan Poster Shop","version":"1.0","type":"link"}