{"product_id":"the-fountainhead-摩天楼-original-japanese-release-period-film-pamphlet-c-1951-american-picture-news-gary-cooper-patricia-neal-king-vidor-18-25-cm-copy-1","title":"“The Fountainhead” (摩天楼), Original Tokyo Gekijo \/ Tokyo Theatre Opening-Engagement Film Programme No. 1, New Year 1951 (31 December 1950), Gary Cooper \/ Patricia Neal \/ King Vidor, 18 × 25 cm","description":"\u003cp data-pm-slice=\"1 1 []\"\u003e\u003cspan\u003eThis is an \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eoriginal Japanese cinema programme produced specifically for the Tokyo Gekijo (東京劇場 \/ Tokyo Theatre)\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e for the original Japanese theatrical engagement of \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003eThe Fountainhead\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e, commencing \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e31 December 1950\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIssued for \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eNew Year 1951\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and prominently numbered \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“1” on its original front cover\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, this is a particularly significant piece of early post-war Japanese cinema history.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe programme commemorates not only the Japanese release of \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eThe Fountainhead\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, but also an important moment in the history of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eTokyo Theatre\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, one of Tokyo's major entertainment venues. On \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e31 December 1950\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, the theatre transitioned from its established role as a venue for live theatrical performances to a cinema specialising in film roadshows. \u003c\/span\u003e\u003cem\u003e\u003cstrong\u003e\u003cspan\u003eThe Fountainhead\u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e\u003cspan\u003e was the first film presented under this new arrangement\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis connection is independently documented in the historical records of the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eShochiku Otani Library\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, making this considerably more than an ordinary release-period film pamphlet.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMeasuring approximately \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e18 × 25 cm\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, the programme combines a striking \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ecolour photographic cover of Gary Cooper and Patricia Neal\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, English and Japanese film synopses, extensive production and cast credits, contemporary critical essays, actor and director profiles, original cinema screening information, photographic stills, illustrations and numerous period advertisements.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDirected by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eKing Vidor\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and starring \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eGary Cooper, Patricia Neal and Raymond Massey\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, the film was adapted by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eAyn Rand from her own novel\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. Produced by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eWarner Bros. in 1949\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, it opened theatrically in Japan on \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e31 December 1950\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, distributed by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eCentral\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eFilm background\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003eThe Fountainhead\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e follows \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eHoward Roark\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, an uncompromising architect whose determination to preserve his creative independence brings him into conflict with clients, professional conventions and the influence of public opinion.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis relationships with \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eDominique Francon\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, newspaper proprietor \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eGail Wynand\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and fellow architect \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ePeter Keating\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e develop into a dramatic examination of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eindividualism, artistic conviction, ambition and the pressures of society\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAt its centre is Roark's intense relationship with Dominique, whose admiration for his uncompromising principles is complicated by her belief that society will inevitably attempt to destroy everything he represents.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe production brought together an important group of Hollywood filmmakers: \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eHenry Blanke\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e as producer, \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eKing Vidor\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e as director, \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eAyn Rand\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e as novelist and screenwriter, \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eRobert Burks\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e as cinematographer and \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eMax Steiner\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e as composer.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAlongside Cooper, Neal and Massey, the cast includes \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eKent Smith, Robert Douglas, Henry Hull, Ray Collins, Moroni Olsen\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eJerome Cowan\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe programme preserves an extensive English-language production and cast listing, accompanied by additional Japanese credits and commentary.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eDesign\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe front cover is an exceptionally attractive example of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eearly post-war Japanese cinema programme design\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, combining a romantic Hollywood publicity photograph with restrained typography and the distinctive identity of the original theatre.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe composition is dominated by a large \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ecolour image of Gary Cooper embracing Patricia Neal\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, taken from one of the film's most recognisable romantic sequences.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCooper leans towards Neal, whose head is tilted back as the two actors embrace. Their figures occupy almost the entire sheet, set against a predominantly \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ecream-white background\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe photograph retains the warm natural tones of the actors' faces and clothing, with comparatively little surrounding decoration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAt the upper left appears the original English title:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTHE FOUNTAINHEAD\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003erendered in strong \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eblue lettering\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAcross the lower margin appears:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e東劇\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e— \u003c\/span\u003e\u003cem\u003e\u003cstrong\u003e\u003cspan\u003eTōgeki\u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e\u003cspan\u003e, the familiar abbreviation of Tokyo Gekijo \/ Tokyo Theatre.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eImmediately underneath is the English:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTOKYO THEATRE\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eprinted in contrasting red lettering.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTo the left is the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eS.Y. emblem associated with the Shochiku exhibition circuit\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAt the lower right is a small, prominent \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eblue square containing the numeral “1”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis is one of the most important elements of the design.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRather than simply identifying the film, the cover identifies the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eactual cinema for which the programme was issued\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, with the number corresponding to the beginning of the theatre's newly established roadshow programme series.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe design is particularly effective because it combines the international appeal of its Hollywood stars with the distinctive typography and identity of a major Japanese cinema.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eTokyo Gekijo — Programme No. 1\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe historical significance of this edition lies in its direct connection to \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eTokyo Theatre's transition to cinema exhibition at the end of 1950\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOriginally opened in \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e1930\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, Tokyo Theatre had been one of the city's important venues for live performances, including Kabuki and other theatrical productions.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe theatre survived the destruction of the Second World War and played a particularly important role during the years when Tokyo's historic Kabukiza theatre was undergoing reconstruction.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHowever, at the end of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e1950\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, Tokyo Theatre began a new chapter as a cinema presenting feature films.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAccording to the historical records of the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eShochiku Otani Library\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, this transition took place on \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e31 December 1950\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, with \u003c\/span\u003e\u003cem\u003e\u003cstrong\u003e\u003cspan\u003eThe Fountainhead\u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e\u003cspan\u003e serving as the inaugural film\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRemarkably, this is the same date recorded for the film's original Japanese theatrical opening.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe programme's original \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“1”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e is therefore especially meaningful when considered alongside the accompanying historical documentation and the contents of the booklet itself.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt identifies this as \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eProgramme No. 1 associated with Tokyo Theatre's inaugural roadshow engagement\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWhile the number does not independently establish that this was the first \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eFountainhead\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e pamphlet printed anywhere in Japan, it provides a direct and historically supported connection to the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003efilm's opening engagement at Tokyo Theatre\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e“A Happy New Year 1951”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOne of the most remarkable features of the programme is an original introductory page headed:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eA HAPPY NEW YEAR\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003e1951\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003e謹賀新年\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e— \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“Respectful wishes for the New Year.”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBeneath this appears:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e御挨拶\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e— \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“A Greeting to Our Patrons.”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Japanese message explains that \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eTokyo Theatre, previously known as a venue for stage performances, is beginning a new role as a roadshow cinema presenting outstanding Japanese and foreign films\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe theatre expresses pride in its projection and sound facilities and promises to provide audiences with an excellent cinematic experience.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt also thanks patrons for their previous support and requests their continued patronage as the venue begins this new chapter.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe message is signed:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eS.Y. 東京劇場\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e— \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“S.Y. Tokyo Theatre.”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis original greeting is particularly important because it provides \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003econtemporary documentary evidence of the theatre's transition\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, preserved within the very programme issued for its opening film.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt also establishes the publication firmly within the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eNew Year 1951 period\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, rather than relying solely upon an estimated date based on the film's release.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThe Japanese title\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Japanese theatrical title is:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e摩天楼\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003e\u003cspan\u003eMatenrō\u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e\u003cspan\u003e — “Skyscraper.”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRather than translating \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eThe Fountainhead\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e literally, the Japanese title draws attention to the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003earchitectural imagery and modern metropolitan setting\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e central to the film.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe word \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eMatenrō\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e evokes monumental buildings and the ambition of modern architecture, providing Japanese audiences with an immediately recognisable visual idea.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eInside the programme, the large \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e摩天楼\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e heading introduces the film's extensive production information and Japanese-language story.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe juxtaposition of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eJapanese title typography, English credits and Hollywood photography\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e is characteristic of the programme's presentation of American cinema to contemporary Japanese audiences.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eInterior contents\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe programme contains considerably more than an ordinary synopsis or list of actors.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe first numbered page includes an \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eEnglish-language summary of the entire film\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, followed by a substantial production-credit section and a complete cast list.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe English credits identify not only the principal filmmakers, but also members of the technical production team, including personnel responsible for \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eart direction, editing, sound, special effects, wardrobe, makeup and orchestration\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe Japanese section introduces the film under the heading:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e「解説」 — “Introduction \/ Commentary”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eand provides a substantial:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e「ストーリイ」 — “Story”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ewhich examines Roark's career, his difficult relationship with Dominique, his conflicts with conventional architecture and the eventual consequences of his refusal to compromise.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe interior is illustrated with \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eblack-and-white photographic stills, printed portraits and illustrations\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, alongside advertisements reflecting Japanese consumer culture in the early 1950s.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eParticularly interesting is the presence of substantial editorial material introducing \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eKing Vidor and the film's principal actors\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, rather than limiting the publication to standard promotional information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor an English-language collector, the bilingual production information provides an accessible record of the film's principal contributors, while the Japanese essays preserve the contemporary interpretation of the film for its original theatrical audience.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eDirector and actor commentary\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA distinctive feature of this Tokyo Theatre edition is an article headed:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e「監督と俳優」\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e— \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“Director and Actors.”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe piece is credited to:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e南部圭之助 — Keinosuke Nambu\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eand provides a discussion of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eKing Vidor's career, his filmmaking methods and the performers associated with the production\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe accompanying illustration of Vidor gives the pages a particularly engaging editorial character.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe commentary considers Vidor's long career, including his work in silent cinema, his interest in personal expression and the development of his filmmaking style.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAdditional sections introduce the principal actors, including \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eGary Cooper and Raymond Massey\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, placing their performances within the context of their wider Hollywood careers.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe presence of this \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eseparately credited Japanese contribution\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e is an important distinction from the two other release-period \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eFountainhead\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e publications.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eContemporary Japanese criticism\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe programme also contains an extended essay titled:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e「この映画について」\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e— \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“About This Film.”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis article examines the film's central philosophical and dramatic conflicts, particularly the relationship between \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eRoark's independent creative vision and the expectations imposed upon him by society\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe writer considers the contrasting personalities of Roark, Dominique and Wynand, including the difficulties involved in presenting their convictions and relationships convincingly on screen.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eParticular attention is given to \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eRoark's refusal to compromise\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, Dominique's conflicted response to his independence and Wynand's relationship with public opinion.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe essay does not simply repeat the film's argument without qualification. It considers the distinction between \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eartistic freedom and the wider proposition that individual conviction should take precedence over established laws and social obligations\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eInterestingly, this critical essay shares substantial material with versions appearing in the other two Japanese \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eFountainhead\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e publications examined from the same release period.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHowever, the Tokyo Theatre programme places that material alongside \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eadditional editorial writing, its own theatre information and contemporary exhibition notices\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis makes the pamphlet especially interesting as a record not only of the film itself, but also of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ehow it was presented and interpreted for Japanese audiences during its original opening engagement\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThe original Tokyo Theatre screening timetable\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOne of the most historically significant pages provides practical information for visitors to \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eTokyo Theatre\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt includes an illustration of the theatre building, its address and telephone information, audience notices and the original daily screening schedule.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFive screenings are listed:\u003c\/span\u003e\u003c\/p\u003e\n\u003cul data-spread=\"false\"\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e10:30 a.m.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e12:45 p.m.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e3:00 p.m.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e5:15 p.m.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e7:30 p.m.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cspan\u003eThese details offer an unusually direct connection to the original theatrical presentation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRather than merely preserving promotional artwork, the programme documents \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ethe actual venue and screening arrangements encountered by contemporary cinema audiences\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt is particularly evocative to consider that a visitor attending one of these performances during \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eNew Year 1951\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e could have purchased or received this very programme.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eThe second New Year roadshow\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAnother important piece of dating evidence appears towards the end of the publication.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA full-page advertisement promotes:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e荒原の征服者\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e— \u003c\/span\u003e\u003cem\u003e\u003cstrong\u003e\u003cspan\u003eNorthwest Stampede\u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe advertisement prominently announces:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e新春第2回ロードショウ映画！\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e— \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“The second New Year roadshow film!”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003efollowed by:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e1月中旬 大公開\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e— \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“Opening in mid-January!”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe film's recorded Japanese opening date is \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e15 January 1951\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis is a particularly valuable detail because it identifies the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003enext attraction following \u003c\/span\u003e\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e\u003cspan\u003eThe Fountainhead\u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cspan\u003e in Tokyo Theatre's newly established roadshow programme.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWhen considered together with the original \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“1”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e on the cover and the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e1951 New Year greeting\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, the advertisement provides strong supporting evidence for the programme's association with the opening engagement.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003ePeriod advertisements\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe programme also contains numerous contemporary Japanese commercial advertisements, providing a fascinating glimpse into everyday life in \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eearly post-war Tokyo\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThese include advertisements for \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ehair tonic, face powder, pomade, cosmetics, clothing, personal accessories, cafés and Ginza retailers\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSeveral feature distinctive illustrations and bold Japanese lettering characteristic of the period.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe advertisements are particularly interesting because they connect the cinema experience to the surrounding commercial life of Tokyo, including the nearby \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eGinza and Yurakucho districts\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe rear cover is devoted to a colourful advertisement for:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eキスミー コナ白粉\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e— \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“Kiss Me Powder Face Makeup.”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe design combines a portrait of a young woman with prominent \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003epink and blue Japanese typography\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, advertising the product's fine powder and range of complexion shades.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe advertisement also promotes a fragrance described as:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e香りは南フランスのポッピーです\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e— \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“Its fragrance is the poppy of southern France.”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis attractive full-colour rear-cover advertisement provides a striking contrast to the film photography and monochrome editorial material inside.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe publication also preserves original printing and publishing information associated with \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eShochiku and Toppan Printing\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, further reinforcing its identity as a period Japanese theatre publication.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eCollector interest\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe historical importance of this programme lies in its unusually specific connection to \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ethe original Japanese opening of \u003c\/span\u003e\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e\u003cspan\u003eThe Fountainhead\u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e\u003cspan\u003e and the inaugural film engagement of Tokyo Theatre's new roadshow operation\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eUnlike the separate \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003eAmerican Picture News\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e pamphlet, which presents the film in a colourful, magazine-like format, or the dedicated \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ePRESS SHEET\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, which supplies extensive publicity material, this edition was produced for a \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003especific cinema and its original opening programme\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIts most important distinguishing features include:\u003c\/span\u003e\u003c\/p\u003e\n\u003cul data-spread=\"false\"\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eThe original \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eTOKYO THEATRE \/ 東劇 identification\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“1”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e on the cover.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eThe \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“A HAPPY NEW YEAR 1951”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e message announcing the theatre's transition to roadshow cinema.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eThe documented connection to \u003c\/span\u003e\u003cem\u003e\u003cstrong\u003e\u003cspan\u003eThe Fountainhead\u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e\u003cspan\u003e as the first film presented under that new arrangement on 31 December 1950\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eThe original \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003escreening timetable, theatre illustration and visitor information\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eThe advertisement identifying \u003c\/span\u003e\u003cem\u003e\u003cstrong\u003e\u003cspan\u003eNorthwest Stampede\u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e\u003cspan\u003e as the second New Year roadshow film\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eExtensive \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eEnglish and Japanese film information, critical essays, actor profiles and period advertisements\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cspan\u003eTogether, these details make it an especially compelling historical document.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRather than simply representing the film's Japanese publicity campaign, it records \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ea particular moment in the history of film exhibition in Tokyo\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor collectors of \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003eThe Fountainhead\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, Ayn Rand, King Vidor, Gary Cooper, Patricia Neal\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, early post-war Japanese cinema or \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eoriginal theatre programmes\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, this is a particularly substantial and historically significant surviving piece.\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 original vintage condition.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe front cover retains its \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ewarm photographic colouring\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, with excellent legibility across the blue \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eTHE FOUNTAINHEAD\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e title, the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eTOKYO THEATRE\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e identification and the original numbered \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“1”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e panel.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe central image of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eGary Cooper and Patricia Neal\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e remains clearly defined, with strong contrast and an attractive overall presentation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThere is \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003enatural paper toning, scattered age spots and light handling wear\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, together with minor creasing and wear around the outer edges and corners, consistent with a Japanese paper publication dating from \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e1950–51\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe interior pages retain their photographic illustrations, text and original advertising material, with natural discolouration and paper character consistent with age.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe full-colour rear-cover advertisement remains visually attractive, with its original pink and blue typography clearly preserved.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePlease review all photographs carefully; they show the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eexact pamphlet for sale, including the front cover, interior pages and rear cover\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis is an \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eoriginal Tokyo Gekijo \/ Tokyo Theatre Programme No. 1, issued for the New Year 1951 engagement of \u003c\/span\u003e\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e\u003cspan\u003eThe Fountainhead\u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e\u003cspan\u003e, commencing 31 December 1950\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt is \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003enot a modern reproduction or reprint\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt measures approximately \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e18 × 25 cm\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and is approximately \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e76 years old\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\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":57529057313146,"sku":null,"price":325.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/20261107TheFountainHeadTokyoPremierePamphlet_page-0001.jpg?v=1794049984","url":"https:\/\/japanposter.co.uk\/products\/the-fountainhead-%e6%91%a9%e5%a4%a9%e6%a5%bc-original-japanese-release-period-film-pamphlet-c-1951-american-picture-news-gary-cooper-patricia-neal-king-vidor-18-25-cm-copy-1","provider":"Japan Poster Shop","version":"1.0","type":"link"}