{"product_id":"vertigo-めまい-memai-ultra-rare-original-first-japanese-release-movie-poster-1958-b2-size-c-51-73-cm-gallery","title":"“Vertigo” (めまい \/ Memai), Ultra-Rare Original First Japanese Release Movie Poster 1958, B2 Size (c. 51 × 73 cm) - Gallery","description":"\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThis is an \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eoriginal Japanese B2 theatrical poster printed for the first Japanese release of Alfred Hitchcock’s \u003c\/span\u003e\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e\u003cspan\u003eVertigo\u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e\u003cspan\u003e in 1958\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, starring \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eJames Stewart, Kim Novak and Barbara Bel Geddes\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cem\u003e\u003cspan\u003eVertigo\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e opened theatrically in Japan on \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e26 October 1958\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, only five months after its American premiere. This is genuine \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eParamount first-release advertising paper\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, not the substantially later Japanese revival poster issued through CIC in 1984 or material from a subsequent restoration campaign.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eOnce received as an enigmatic and commercially restrained Hitchcock thriller, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eVertigo\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e has undergone one of the most profound critical reassessments in cinema history. It was voted \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ethe greatest film ever made in \u003c\/span\u003e\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e\u003cspan\u003eSight \u0026amp; Sound\u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e\u003cspan\u003e’s 2012 critics’ poll\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and retained an extraordinary position at \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eNo. 2 in the expanded 2022 poll\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003eThis poster is in excellent condition overall for an original Japanese theatrical sheet dating from 1958. It remains unbacked and retains its original period folds.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch3\u003eDesign\u003c\/h3\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThis is one of the most beautiful and psychologically charged Japanese posters created for any Alfred Hitchcock film.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eWhere Saul Bass’s celebrated American campaign reduced \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eVertigo\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e to \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003espirals, silhouettes and disorientation\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, the Japanese first-release design approaches the film through \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eromance, glamour and narrative montage\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. Yet beneath its apparent romanticism, the image is every bit as uneasy and obsessive as Hitchcock’s film.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eAn enormous, photo-illustrative close-up of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eScottie Ferguson and Madeleine Elster\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e dominates the sheet. James Stewart bends down from the left while Kim Novak reclines beneath him, her platinum-blonde hair, heavily defined eyes and brilliant red lips creating the immaculate artificial image that Scottie will later attempt to reconstruct.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe scale of the embrace is almost overwhelming. Stewart’s black-clad body consumes much of the lower-left composition, while Novak is tilted backwards into the image, suspended between surrender and vulnerability. What initially reads as a passionate kiss gradually feels more controlling and claustrophobic—an extraordinarily appropriate visualisation of a film concerned with \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eobsession, possession and the remaking of a woman into an imagined ideal\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eBehind them, San Francisco is transformed into a vivid mid-century dreamscape. The \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eGolden Gate Bridge\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e rises diagonally through the upper-right corner in saturated vermilion, set against turquoise water, pale sky and softly rendered hills.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eBeneath the bridge appears a second, miniature image of Scottie carrying the apparently unconscious Madeleine after rescuing her from San Francisco Bay. The same couple therefore appears twice within the composition: first as a distant scene of apparent rescue and again as an immense foreground image of romantic fixation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThat doubling is especially effective for \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eVertigo\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, a film structured around \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003erepetition, false identity and the transformation of one image into another\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eAlongside the smaller vignette is the original English studio billing:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003ePARAMOUNT PRESENTS\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eJAMES STEWART\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eKIM NOVAK\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eALFRED HITCHCOCK’S “VERTIGO”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe brilliant red English title is echoed at the bottom by the much larger Japanese title:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003e「めまい」\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eMeaning \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“vertigo” or “dizziness,”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e the three characters are printed individually in \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003escarlet-pink, green and lavender-purple\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. Against the deep black lower field, they appear almost to float independently from one another.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe colour choice is strikingly appropriate. Red and green are central to the film’s visual psychology—desire, memory and Madeleine’s spectral reappearance are repeatedly organised through colour—while the unexpected violet adds another note of chromatic instability.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eAcross the upper margin appears the original Japanese campaign line:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003e「美貌の人妻の不思議な行動を追って発展するロマンスとサスペンスの名篇!!」\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003e“A masterpiece of romance and suspense unfolding through the pursuit of a beautiful married woman’s mysterious behaviour!”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe wording reveals precisely how Paramount introduced \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eVertigo\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e to Japanese audiences in 1958. Rather than foregrounding Scottie’s acrophobia or the film’s increasingly disturbing examination of obsession, the campaign presented it as an exceptionally sophisticated fusion of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eromance, mystery and suspense\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eAt upper centre appears the period inscription:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003e「外国映画芸術祭作品」\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003e—identifying the film as part of a contemporary \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eforeign-film arts presentation\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eAt upper left, the poster prominently advertises Hitchcock’s technical presentation through the original:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003eVISTAVISION — MOTION PICTURE HIGH FIDELITY\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eBeneath it, \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e「総天然色」\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e announces the film in “full natural colour,” with the individual characters themselves printed in different colours. These details are not incidental: in 1958, VistaVision and full-colour presentation were major theatrical attractions, and the Japanese campaign made the richness and scale of Robert Burks’s San Francisco imagery a central selling point.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe bottom retains the period Japanese credits for \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eJames Stewart, Kim Novak, Barbara Bel Geddes, Pierre Boileau and Thomas Narcejac\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, together with Hitchcock’s director credit and the original \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eParamount Pictures mountain emblem\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe result is a remarkable synthesis of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eHollywood star photography, hand-retouched illustration, Japanese typography and mid-century colour advertising\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. It is considerably more pictorial than the American Saul Bass campaign, but no less distinctive.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cem\u003e\u003cspan\u003eFormat note:\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e Japanese \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eB2\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e posters measure approximately \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e51 × 73 cm \/ 20 × 29 in\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and served as the principal single-sheet theatrical format in Japan.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003eRarity\u003c\/h3\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eAlthough B2 was Japan’s standard theatrical poster size, \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003estandard format does not mean commonly surviving\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e—particularly for imported films released in the 1950s.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThese posters were functional cinema advertising. They were folded, transported, displayed, removed and usually discarded once the theatrical engagement ended. Very few people in 1958 treated them as objects that should be preserved for future film or design collections.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe passage of nearly seven decades has reduced the surviving population still further. Original Japanese posters from this period are frequently encountered with extensive fold separation, paper loss, staining, tape repairs, faded colour or permanent mounting to boards and backing materials.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThis design is also sought internationally because it offers a completely different visual interpretation from the famous Saul Bass American poster. Auction specialists have described the Japanese B2 as a \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003erare alternative whose deep colour and lush imagery capture the beauty, passion and intrigue of the film\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e; surviving examples have appeared only intermittently at major poster auctions.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe market for \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eVertigo\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e paper is unusually broad. It encompasses collectors of:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003eAlfred Hitchcock\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eJames Stewart and Kim Novak\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eSaul Bass and mid-century design\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eclassic Hollywood and psychological cinema\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eJapanese film advertising\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003eand \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ecanonical works of world cinema\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe combination of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e1958 first-release provenance, rare Japanese artwork, original Paramount markings, strong colour and an unbacked state\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e makes this a genuine grail-level poster for a serious Hitchcock collection.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003eCult Status \/ Film Notes\u003c\/h3\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eBased on the novel \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eD’entre les morts\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ePierre Boileau and Thomas Narcejac\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eVertigo\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e follows retired San Francisco detective John “Scottie” Ferguson, who suffers from acrophobia after a traumatic rooftop accident.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eAsked by an old acquaintance to follow his wife Madeleine, Scottie watches as she visits locations connected to a dead ancestor and appears increasingly possessed by the past. His professional surveillance becomes romantic fixation, and after tragedy intervenes, that fixation develops into an attempt to recreate the lost woman through someone else.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe film’s mystery ultimately becomes a disturbing investigation of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ethe male gaze, erotic obsession, grief, performance and the violence involved in forcing reality to conform to an idealised image\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eHitchcock assembled one of the most important creative teams of his career. \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eRobert Burks’s VistaVision cinematography\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e gives San Francisco a dreamlike, unstable beauty; \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eBernard Herrmann’s score\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e moves through recurring, circular phrases of yearning and dread; and \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eSaul Bass’s title design\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e transforms the spiral into the film’s defining visual symbol. The principal cast was led by James Stewart, Kim Novak and Barbara Bel Geddes.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe film’s celebrated dolly-zoom effect—created by moving the camera while changing the focal length in the opposite direction—became so inseparable from the picture that it is now commonly known as the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e“Vertigo effect.”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eIts critical ascent was gradual but extraordinary. After decades of analysis, restoration and rediscovery, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eVertigo\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e overtook \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eCitizen Kane\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e in 2012 to become the first new film in half a century to lead \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eSight \u0026amp; Sound\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e’s critics’ poll. Ten years later it remained at No. 2, confirming rather than diminishing its place at the centre of the cinematic canon.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eFew original film posters represent a title of comparable historical and critical stature.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003eCondition\u003c\/h3\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003eExcellent condition overall for an original folded Japanese poster printed in 1958.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe colours remain impressively strong: the turquoise water and sky, vermilion Golden Gate Bridge, Novak’s blonde hair and vivid red, green and violet typography retain excellent saturation. The substantial black lower field remains deep and visually powerful, rather than appearing badly faded or extensively abraded.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe poster retains its \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eoriginal horizontal and vertical fold pattern\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, entirely consistent with period theatrical handling and distribution. The folds remain visible from both the front and reverse.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThere is some \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003efold wear and associated creasing\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, most noticeably around the central cross-fold area within the main kiss image. There are also localized stress marks and shallow creases along portions of the vertical and horizontal folds.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eAdditional condition points include:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003eminor edge and corner wear;\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eseveral small edge nicks;\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003ea fine vertical stress line within the lower-right black field;\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003eand \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eminor wear along the lower edge.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe reverse shows the complete period fold structure, general age-related handling and light natural toning. A small pencil notation (58) is present toward the lower-left area of the verso.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003eOnce professionally framed, this poster will display exceptionally well.\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Its vivid colour, enormous central image and deep black lower field retain tremendous visual impact, while the original folds form part of the history of an authentic Japanese theatrical survivor from 1958.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003ePlease review all photographs carefully. They show the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eexact poster for sale, front and back\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, including detailed images of the folds, cross-fold wear, edges and reverse.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThis is an \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eultra-rare original Japanese B2 theatrical poster from the 1958 first Japanese release of \u003c\/span\u003e\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e\u003cspan\u003eVertigo\u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eIt is \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003enot a reproduction, later reprint or 1984 Japanese revival poster\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eIt measures approximately \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e51 × 73 cm \/ 20 × 29 in\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eIt is approximately \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e68 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":57185674363258,"sku":null,"price":3850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/Scanfrom2026-08-2001_36_32PM.jpg?v=1787204624","url":"https:\/\/japanposter.co.uk\/products\/vertigo-%e3%82%81%e3%81%be%e3%81%84-memai-ultra-rare-original-first-japanese-release-movie-poster-1958-b2-size-c-51-73-cm-gallery","provider":"Japan Poster Shop","version":"1.0","type":"link"}