{"product_id":"the-revenge-of-frankenstein-original-release-japanese-movie-poster-1958-b2-size-51-x-73cm-g45-copy","title":"“The Revenge of Frankenstein” (フランケンシュタインの復讐), Original Japanese First-Release Movie Poster (1958), Ultra Rare B2 (approx. 51.5 × 72.8 cm) Q96","description":"\u003cp data-start=\"144\" data-end=\"795\"\u003eA striking \u003cstrong data-start=\"155\" data-end=\"189\"\u003e1958 first-release Japanese B2\u003c\/strong\u003e for Hammer Films’ \u003cem data-start=\"208\" data-end=\"237\"\u003eThe Revenge of Frankenstein\u003c\/em\u003e—Terence Fisher’s sequel to \u003cem data-start=\"265\" data-end=\"292\"\u003eThe Curse of Frankenstein\u003c\/em\u003e and one of the key titles in the great late-1950s colour-horror cycle. Released in Japan as \u003cstrong data-start=\"385\" data-end=\"404\"\u003e『フランケンシュタインの復讐』\u003c\/strong\u003e, this is an exceptionally strong and highly theatrical Japan-market design: enormous white brush-stroke title lettering climbs the left side, Peter Cushing’s scarred and glaring face dominates the sheet, a vast clawed hand surges forward in the foreground, and the lower register combines the prone victim, village silhouette, and glamorous heroine into a feverish collage of Gothic menace.\u003c\/p\u003e\n\u003cp data-start=\"797\" data-end=\"1220\"\u003eFor collectors of \u003cstrong data-start=\"815\" data-end=\"905\"\u003eHammer Horror, Peter Cushing, British Gothic cinema, and major Japanese horror posters\u003c\/strong\u003e, this is a true trophy piece. Hammer’s films were already transforming international horror by 1958, and this Japanese campaign pushes that energy even further—bold colour, oversized typography, sensational copy, and a highly charged composition that differs markedly from British and American paper for the title.\u003c\/p\u003e\n\u003cp data-start=\"1222\" data-end=\"1648\"\u003eThis example is especially desirable for its \u003cstrong data-start=\"1267\" data-end=\"1308\"\u003eremarkable visual impact and scarcity\u003c\/strong\u003e. The front remains exceptionally fresh in appearance, with rich reds, deep blacks, vivid yellow copy, and strong overall contrast. It is an ultra-rare survivor from the original Japanese release campaign and an outstanding example of how imported Hammer horror was sold to Japanese audiences at the height of the studio’s first great wave.\u003c\/p\u003e\n\u003ch3 data-section-id=\"b50v43\" data-start=\"1650\" data-end=\"1688\"\u003eDate \u0026amp; Japanese Theatrical Release\u003c\/h3\u003e\n\u003cp data-start=\"1690\" data-end=\"2008\"\u003e\u003cem data-start=\"1690\" data-end=\"1719\"\u003eThe Revenge of Frankenstein\u003c\/em\u003e was produced in 1958 and opened theatrically in Japan on \u003cstrong data-start=\"1777\" data-end=\"1797\"\u003e27 December 1958\u003c\/strong\u003e, distributed by \u003cstrong data-start=\"1814\" data-end=\"1826\"\u003eColumbia\u003c\/strong\u003e. This poster is from that \u003cstrong data-start=\"1853\" data-end=\"1897\"\u003eoriginal Japanese first-release campaign\u003c\/strong\u003e, and the bottom credit \u003cstrong data-start=\"1921\" data-end=\"1936\"\u003eコロムビア映画会社提供\u003c\/strong\u003e is an important first-run detail. \u003cspan class=\"\" data-state=\"closed\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3 data-section-id=\"8nhajl\" data-start=\"2010\" data-end=\"2050\"\u003eThe Film \u0026amp; Its Place in 1950s Horror\u003c\/h3\u003e\n\u003cp data-start=\"2052\" data-end=\"2691\"\u003eDirected by \u003cstrong data-start=\"2064\" data-end=\"2082\"\u003eTerence Fisher\u003c\/strong\u003e and produced by \u003cstrong data-start=\"2099\" data-end=\"2116\"\u003eAnthony Hinds\u003c\/strong\u003e, \u003cem data-start=\"2118\" data-end=\"2147\"\u003eThe Revenge of Frankenstein\u003c\/em\u003e is the second entry in Hammer’s Frankenstein cycle, following the breakthrough success of \u003cem data-start=\"2238\" data-end=\"2265\"\u003eThe Curse of Frankenstein\u003c\/em\u003e (1957). The film stars \u003cstrong data-start=\"2289\" data-end=\"2306\"\u003ePeter Cushing\u003c\/strong\u003e as Baron Victor Frankenstein, alongside \u003cstrong data-start=\"2347\" data-end=\"2398\"\u003eFrancis Matthews, Eunice Gayson, Michael Gwynn,\u003c\/strong\u003e and \u003cstrong data-start=\"2403\" data-end=\"2422\"\u003eLionel Jeffries\u003c\/strong\u003e, with a screenplay by \u003cstrong data-start=\"2445\" data-end=\"2463\"\u003eJimmy Sangster\u003c\/strong\u003e. In narrative terms, it continues the Baron’s story after his apparent execution, sending him into a new phase of surgical experiment, identity concealment, and macabre body reconstruction. \u003cspan class=\"\" data-state=\"closed\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"2693\" data-end=\"3119\"\u003eBy the late 1950s, Hammer stood at the forefront of a new horror style: \u003cstrong data-start=\"2765\" data-end=\"2839\"\u003ecolour, shock, psychological perversity, and elegant period atmosphere\u003c\/strong\u003e. \u003cem data-start=\"2841\" data-end=\"2870\"\u003eThe Revenge of Frankenstein\u003c\/em\u003e is central to that development. Peter Cushing’s cool, intellectual Baron remains one of the defining performances in British horror, and the film helped cement Hammer’s rapidly growing international reputation. \u003cspan class=\"\" data-state=\"closed\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3 data-section-id=\"1cqo5yn\" data-start=\"3121\" data-end=\"3151\"\u003eWhy This Is a Trophy Piece\u003c\/h3\u003e\n\u003cp data-start=\"3153\" data-end=\"3670\"\u003eThis poster captures the moment when \u003cstrong data-start=\"3190\" data-end=\"3234\"\u003eHammer Horror became a global phenomenon\u003c\/strong\u003e. Japanese release paper for these early Hammer titles is far scarcer than standard British or American material, and when it appears, the design language is often considerably more dramatic. Here, the studio’s Gothic horror is translated into a distinctly Japanese visual idiom: oversized vertical title treatment, lurid palette, and confrontational imagery that turns Peter Cushing’s Baron into a near-monster figure in his own right.\u003c\/p\u003e\n\u003cp data-start=\"3672\" data-end=\"3939\"\u003eFor collectors, that matters. This is not simply a poster for a famous film; it is a \u003cstrong data-start=\"3757\" data-end=\"3828\"\u003eJapan-specific interpretation of one of Hammer’s foundational works\u003c\/strong\u003e, and in B2 format it has the scale, elegance, and wall power collectors seek in serious post-war horror paper.\u003c\/p\u003e\n\u003ch3 data-section-id=\"9gazrr\" data-start=\"3941\" data-end=\"3957\"\u003eDesign Notes\u003c\/h3\u003e\n\u003cp data-start=\"3959\" data-end=\"4155\"\u003e• \u003cstrong data-start=\"3961\" data-end=\"3992\"\u003eMonumental title treatment:\u003c\/strong\u003e the huge white brush-style Japanese title running vertically at left is one of the sheet’s most arresting features, giving the poster immediate graphic authority.\u003c\/p\u003e\n\u003cp data-start=\"4157\" data-end=\"4313\"\u003e• \u003cstrong data-start=\"4159\" data-end=\"4195\"\u003eDominant Peter Cushing portrait:\u003c\/strong\u003e Cushing’s damaged, half-shadowed face fills the upper field, turning the Baron himself into the central horror image.\u003c\/p\u003e\n\u003cp data-start=\"4315\" data-end=\"4489\"\u003e• \u003cstrong data-start=\"4317\" data-end=\"4350\"\u003eClaw-hand horror iconography:\u003c\/strong\u003e the enormous blackened hand thrusting into the composition is pure exploitation-era visual theatre—grotesque, menacing, and unforgettable.\u003c\/p\u003e\n\u003cp data-start=\"4491\" data-end=\"4686\"\u003e• \u003cstrong data-start=\"4493\" data-end=\"4521\"\u003eHammer colour intensity:\u003c\/strong\u003e the burning red-orange ground, set against pale flesh tones and black shadow, gives the sheet the saturated impact that made Hammer’s horror imagery so distinctive.\u003c\/p\u003e\n\u003cp data-start=\"4688\" data-end=\"4899\"\u003e• \u003cstrong data-start=\"4690\" data-end=\"4731\"\u003eJapanese copy and vertical spectacle:\u003c\/strong\u003e the tall yellow copy line at right intensifies the sense of dread and sensation, while the lower montage of corpse, village, and heroine broadens the narrative appeal.\u003c\/p\u003e\n\u003cp data-start=\"4901\" data-end=\"5121\"\u003e• \u003cstrong data-start=\"4903\" data-end=\"4941\"\u003eStrong first-release fingerprints:\u003c\/strong\u003e the English title \u003cstrong data-start=\"4960\" data-end=\"4993\"\u003e“The Revenge of Frankenstein”\u003c\/strong\u003e remains at the top, while the lower Columbia credit firmly anchors the poster within its original Japanese theatrical campaign.\u003c\/p\u003e\n\u003ch3 data-section-id=\"z71nqt\" data-start=\"5123\" data-end=\"5184\"\u003eHammer Films, Columbia, and the Japanese Release Campaign\u003c\/h3\u003e\n\u003cp data-start=\"5186\" data-end=\"5725\"\u003eThis B2 is an excellent example of how imported British Gothic horror was marketed in Japan at the end of the 1950s. Rather than downplaying the film’s lurid qualities, the campaign heightens them: \u003cstrong data-start=\"5384\" data-end=\"5485\"\u003efrantic brush lettering, bloodied facial detail, monstrous anatomy, and sensational tag-line copy\u003c\/strong\u003e all push the sheet toward full horror spectacle. Columbia’s Japanese release paper for genre titles from this period is increasingly difficult to find, and this poster stands out even within that context for both design quality and rarity.\u003c\/p\u003e\n\u003cp data-start=\"5727\" data-end=\"6013\"\u003eIt also reflects the broader appeal Hammer had in Japan: richly coloured Gothic horror, immediately legible star imagery, and a level of visual excess that sat comfortably alongside Japan’s own thriving appetite for horror, science fiction, and fantastical cinema in the post-war years.\u003c\/p\u003e\n\u003ch3 data-section-id=\"1uef3h1\" data-start=\"6015\" data-end=\"6028\"\u003eCondition\u003c\/h3\u003e\n\u003cp data-start=\"6030\" data-end=\"6118\"\u003e\u003cstrong data-start=\"6030\" data-end=\"6118\"\u003eExcellent. Please review the photos—they show the exact poster for sale.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"6120\" data-end=\"6383\"\u003eThis poster presents to a superb standard for an original \u003cstrong data-start=\"6178\" data-end=\"6208\"\u003e1958 Japanese paper poster\u003c\/strong\u003e. Colours remain \u003cstrong data-start=\"6225\" data-end=\"6247\"\u003erich and saturated\u003c\/strong\u003e, especially the red-orange background, black shadow areas, and white title lettering. The overall display presence is extremely strong.\u003c\/p\u003e\n\u003cp data-start=\"6733\" data-end=\"6872\"\u003eOverall, this is a highly attractive and unusually well-preserved example of an \u003cstrong data-start=\"6813\" data-end=\"6871\"\u003eultra-rare first-release Japanese Hammer horror poster\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp data-start=\"6874\" data-end=\"6902\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eIt is over \u003cstrong data-start=\"6885\" data-end=\"6901\"\u003e68 years old\u003c\/strong\u003e.\u003c\/p\u003e\n\u003c!----\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":56838219366778,"sku":null,"price":3500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/wall-shelf-with-ornaments-2026-04-26T161243.750.jpg?v=1777187584","url":"https:\/\/japanposter.co.uk\/products\/the-revenge-of-frankenstein-original-release-japanese-movie-poster-1958-b2-size-51-x-73cm-g45-copy","provider":"Japan Poster Shop","version":"1.0","type":"link"}