{"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","title":"“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","description":"\u003cp dir=\"auto\" class=\"PDq2pG_selectionAnchorContainer\"\u003eThis is an \u003cstrong\u003eoriginal Japanese film pamphlet for \u003cem\u003eThe Fountainhead\u003c\/em\u003e\u003c\/strong\u003e, published under the \u003cstrong\u003eAmerican Picture News\u003c\/strong\u003e heading and catalogued \u003cstrong\u003ecirca 1951\u003c\/strong\u003e, from the film’s original Japanese release period.\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eMeasuring approximately \u003cstrong\u003e18 × 25 cm\u003c\/strong\u003e, it combines a striking \u003cstrong\u003efull-colour cover\u003c\/strong\u003e with Japanese film commentary, a detailed story synopsis, bilingual cast and production credits, star profiles, photographic stills, printed line illustrations and period advertisements. It is a \u003cstrong\u003ecinema programme \/ pamphlet\u003c\/strong\u003e, rather than a theatrical poster. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e \u003cspan class=\"contents\"\u003e\u003c\/span\u003e \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eDirected by \u003cstrong\u003eKing Vidor\u003c\/strong\u003e and starring \u003cstrong\u003eGary Cooper, Patricia Neal and Raymond Massey\u003c\/strong\u003e, the film was adapted by \u003cstrong\u003eAyn Rand from her own novel\u003c\/strong\u003e. Produced in \u003cstrong\u003e1949\u003c\/strong\u003e, it opened theatrically in Japan on \u003cstrong\u003e31 December 1950\u003c\/strong\u003e, distributed by \u003cstrong\u003eCentral\u003c\/strong\u003e. \u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eFilm background\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cem\u003eThe Fountainhead\u003c\/em\u003e follows \u003cstrong\u003eHoward Roark\u003c\/strong\u003e, an architect whose refusal to compromise his designs brings him into conflict with clients, professional convention and the influence of the press.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eHis relationships with \u003cstrong\u003eDominique\u003c\/strong\u003e, newspaper proprietor \u003cstrong\u003eGail Wynand\u003c\/strong\u003e and fellow architect \u003cstrong\u003ePeter Keating\u003c\/strong\u003e turn the story into a combination of romantic drama and a confrontation over creative independence, ambition and public approval. These conflicts form the basis of the pamphlet’s extensive Japanese synopsis. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe production credits printed inside bring together an important group of Hollywood filmmakers: \u003cstrong\u003eHenry Blanke\u003c\/strong\u003e as producer, \u003cstrong\u003eKing Vidor\u003c\/strong\u003e as director, \u003cstrong\u003eAyn Rand\u003c\/strong\u003e as both novelist and screenwriter, \u003cstrong\u003eRobert Burks\u003c\/strong\u003e as cinematographer and \u003cstrong\u003eMax Steiner\u003c\/strong\u003e as composer.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAlongside Cooper, Neal and Massey, the cast includes \u003cstrong\u003eKent Smith, Robert Douglas, Henry Hull, Ray Collins, Moroni Olsen\u003c\/strong\u003e and \u003cstrong\u003eJerome Cowan\u003c\/strong\u003e. The bilingual credit panel preserves these names in both English and period Japanese transliteration. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eDesign\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe cover presents the film through a dramatic combination of \u003cstrong\u003eromance, monumental typography and an urban skyline\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eA large embracing couple dominates the composition, set against a \u003cstrong\u003eturquoise-blue sky\u003c\/strong\u003e and a dark silhouette of high-rise buildings. Small illuminated windows punctuate the skyline, while the deep plum colouring of the foreground creates a strong contrast with the pale sky and warm tones of the central image.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAcross the top, the publication title:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eAmerican Picture News\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eappears in elegant \u003cstrong\u003eyellow cursive lettering\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eBelow, the enormous:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eTHE FOUNTAINHEAD\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003etitle stretches across the lower portion of the cover in \u003cstrong\u003ecream-white letters with substantial turquoise dimensional shadows\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe contrast between the flowing masthead and the block-like film title is particularly effective. One gives the cover the character of a cinema publication; the other has a weight and scale that suit the film’s architectural subject.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe design brings its two central visual themes together: an intimate romantic encounter placed against the imposing structures of the modern city. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e“American Picture News” and the publishing marks\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe cover carries the circular \u003cstrong\u003eMotion Picture Export Association — MPEA — emblem\u003c\/strong\u003e at upper left and the \u003cstrong\u003eWarner Bros. shield\u003c\/strong\u003e at the right.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eInside, the credits also include the \u003cstrong\u003eCentral \/ CMPE presentation line\u003c\/strong\u003e, while the rear margin carries Japanese publication information and an \u003cstrong\u003eMPEA contract reference\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThese details are part of the pamphlet’s interest as a period publication: alongside the film’s artwork and editorial content, it preserves the studio, presentation and publishing marks associated with its Japanese circulation. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e \u003cspan class=\"contents\"\u003e\u003c\/span\u003e \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eThe Japanese title\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eInside, the film is introduced by three large characters:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e摩天楼\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e\u003cem\u003eMatenrō\u003c\/em\u003e — “Skyscraper.”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eRather than translating \u003cem\u003eThe Fountainhead\u003c\/em\u003e literally, the Japanese title foregrounds the architecture at the centre of the story.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe bold kanji heading sits above a large black-and-white romantic still, with the framed English and Japanese cast-and-crew panel below. The combination of Japanese typography, English credits and photographic imagery gives the interior a different character from the colour cover. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eInterior contents\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe pamphlet contains considerably more than a simple cast list.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe section headed \u003cstrong\u003e「解説」 — “Introduction \/ Commentary”\u003c\/strong\u003e introduces the production and its themes, while \u003cstrong\u003e「物語」 — “Story”\u003c\/strong\u003e provides an extended Japanese account of the narrative.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eDense vertical columns of text are broken up by \u003cstrong\u003eblack-and-white film stills and printed line drawings\u003c\/strong\u003e, giving the pages a lively editorial rhythm. Separate features discuss \u003cstrong\u003ePatricia Neal\u003c\/strong\u003e and \u003cstrong\u003eGary Cooper\u003c\/strong\u003e, placing the film alongside information about its leading performers and their careers. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eFor an English-language collector, the bilingual credits provide an immediately accessible part of the publication. The Japanese articles offer a further layer of interest: they preserve how the film was introduced, explained and discussed for its contemporary Japanese readership.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eContemporary Japanese criticism\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eOne of the pamphlet’s most interesting features is that its editorial material goes beyond straightforward promotional praise.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe boxed \u003cstrong\u003e「今週のメモ」 — “This Week’s Notes”\u003c\/strong\u003e considers the film’s architectural imagery, the visual treatment of the stone quarry and the plausibility of its courtroom resolution. It also includes \u003cstrong\u003e1950 box-office star rankings\u003c\/strong\u003e, connecting the feature to contemporary cinema news. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe longer \u003cstrong\u003e「この映画について」 — “About This Film”\u003c\/strong\u003e essay examines the relationships between Roark, Dominique and Wynand, including tensions and weaknesses the writer identifies in their characterisation and development.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eRather than simply repeating the film’s message, the essay considers the difficulties involved in presenting its ideas through a romantic drama. This makes the pamphlet valuable not only as advertising material, but also as a surviving example of \u003cstrong\u003econtemporary Japanese writing about the film\u003c\/strong\u003e. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003ePeriod advertisements\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe advertisements add another distinctive visual element.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAn interior \u003cstrong\u003eSankyo cough-medicine advertisement\u003c\/strong\u003e combines a colour portrait, blue framing and large red Japanese product lettering. Its printed caption names \u003cstrong\u003eMargaret O’Brien\u003c\/strong\u003e, illustrating how the publication’s commercial material extended beyond the featured film’s own cast. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe rear cover is devoted to \u003cstrong\u003eTakeda’s Soborin\u003c\/strong\u003e, presented against a broad \u003cstrong\u003eturquoise field\u003c\/strong\u003e with a sweeping white graphic, cream borders and bold red lettering.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAlthough separate from the film itself, this rear-cover design provides an attractive counterpart to the front: both make strong use of turquoise, while employing very different approaches to imagery and typography. The Japanese publishing information runs vertically along the outer margin. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eCollector interest\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe appeal of this pamphlet lies in the combination of its \u003cstrong\u003ecolour cover, Japanese title treatment, bilingual credits, illustrated interior, critical commentary and period advertising\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eUnlike a single-sheet poster, it preserves several aspects of the film’s Japanese presentation within one compact object—from the immediate visual appeal of the cover to the more detailed discussion intended for cinema audiences.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eFor collectors of \u003cstrong\u003e\u003cem\u003eThe Fountainhead\u003c\/em\u003e, Ayn Rand, King Vidor, Gary Cooper, Patricia Neal\u003c\/strong\u003e, or \u003cstrong\u003eearly post-war Japanese film publications\u003c\/strong\u003e, it offers both a visually distinctive piece and a document with substantial content to explore.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eOriginal vintage condition, with visible age-related wear.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe front cover retains its \u003cstrong\u003eturquoise background, yellow masthead and deep plum colouring\u003c\/strong\u003e, with the principal image and large English title remaining clearly legible.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThere is \u003cstrong\u003esurface rubbing, scattered marks and creasing\u003c\/strong\u003e, together with wear around the \u003cstrong\u003eedges, corners and spine area\u003c\/strong\u003e. Natural paper toning is visible throughout the photographed interior and rear cover, alongside handling and fold wear consistent with an older paper publication. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e \u003cspan class=\"contents\"\u003e\u003c\/span\u003e \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003ePlease review all photographs carefully; they show the \u003cstrong\u003eexact pamphlet for sale\u003c\/strong\u003e, including the front cover, interior pages and rear cover.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis is an \u003cstrong\u003eoriginal period Japanese film pamphlet\u003c\/strong\u003e, catalogued \u003cstrong\u003ecirca 1951\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt is \u003cstrong\u003enot a modern reproduction or reprint\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt measures approximately \u003cstrong\u003e18 × 25 cm\u003c\/strong\u003e and is approximately \u003cstrong\u003e75 years old\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eCertificate of Authenticity included.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":57283924525434,"sku":null,"price":135.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/The_Fountainhead_1951_Japanese_Pamphlet_Cover.jpg?v=1789769193","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","provider":"Japan Poster Shop","version":"1.0","type":"link"}