Film
Cinderella
1982 Re-Release, 1941
Japanese B2 – 20.25″ x 28.5″ (51 x 73 cm) / Single Sided
Very Fine plus – Rolled (as issued)
Clyde Geronimi, Hamilton Luske, Wilfred Jackson
Claire Du Brey, Eleanor Audley, Helene Stanley, Ilene Woods, James MacDonald, Lucille Bliss, Mike Douglas, Rhoda Williams, Verna Felton, William Phipps
A beautiful, colourful masterpiece of a poster for Walt Disney’s beloved animated fairytale classic “Cinderella”. Originally premiered in 1950 this superb Japanese B2 is from the 1982 re-release in Japan and focuses on the famous scene as Cinderella meets her true love, the Prince (although often referred to as Prince Charming, he is only ever called the Prince in the movie). As you would expect from a Disney offering artwork is of the highest quality and colours truly bright and vibrant. Marvellous border art of the supporting characters with the fairytale castle acting as a romantic backdrop with the dance floor transformed to a clock face about to strike midnight all offset by a night sky full of bright, shooting stars. Originally rolled (as issued) and unrestored this beautiful example presents very well and displays to excellent effect with colourful imagery exclusively created for this Japanese re-release. A fine example of rare and collectable original movie memorabilia for a much loved Disney classic.
Trivia: The clothing of Cinderella in the film has attracted the attention of some fashion and art historians. The dress that the stepsister tears apart is thought to be inspired by the designs of Salvador Dalí and the magical gown is in the then contemporary style of Christian Dior.
…more detailVintage Movie Posters Grading Criteria... read more +
Legendary movie producer Walt Disney brought three of the world’s greatest fairy tales to the screen. They remain among the most popular animated films of all time. The first was his groundbreaking classic “Snow White and the Seven Dwarfs” released in 1937. The last was the then-under appreciated “Sleeping Beauty” which made it’s debut in 1959. In between these two was perhaps his most satisfying adaptation of a classic fairy tale: “Cinderella” (1950). Of the three films, “Cinderella” is the one most faithful to its origins. Ironically, unlike “Snow White”, which for better or worse, became for many the definitive version of the story. “Cinderella” did not follow the same path. Although it was a hit and, like “Snow White”, was responsible for restoring the dwindling Disney fortunes, it never achieved the same audience recognition which it certainly deserved. Disney, for once, did himself proud, electing not to tamper with a classic, instead elaborating and adding substance to the tale, rather than rewriting it for the screen. The result was enchanting.
A combination of superb animation (in beautifully soft Technicolor) and the perfect voice talents brought the story to life with a radiance that endures to this day. Ilene Woods, who was a radio performer, recorded demonstration discs of the songs as a favor to the authors of the material, Al Hoffman, Mack David, and Jerry Livingston. When Disney heard them, he knew he had found his Cinderella. And indeed he had. Woods heartfelt renditions of “A Dream Is A Wish Your Heart Makes”, “So This Is Love” and “Oh Sing Sweet Nightingale” are perfect. Eleanor Audley, who would go on to voice Maleficent in “Sleeping Beauty”, masterfully captured the icy cruelty of the stepmother, while Rhoda Williams and Lucille Bliss were convincingly nasty stepsisters. Luis Van Rooten admirably performed as both the King and the Grand Duke, and James MacDonald was endearing as both Jaq and Gus, Cinderella’s devoted mice. William Phipps has little dialog as the prince (future talk show host Mike Douglas provided his singing voice) but film (and Disney) veteran, Verna Felton was born to play the fairy godmother, and she made the best number, (the Oscar-nominated “Bibbidi-Bobbidi-Boo”) her own show-stopper.
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Mint
A poster that has never been used or displayed and may show the most minor signs of age and wear. The poster should have no holes or tears.
Near Mint
A generally unused poster with fresh, saturated colors. May have minimal tears at folds. Has no significant holes, no paper loss, may have minor tears along edges, may have fine pin holes.
Very Fine
A poster with bright colour and crisp overall appearance. It may have very general signs of use including slight fold separation and fold wear. It may have pin holes or very minor tears. This is the highest grade allowed for a poster that has been restored either on linen or on paper.
Fine
A poster with good colors and overall clean appearance. It may have minor tears small paper loss and minor stains. It may have some fold seperation.
Good
An average poster with overall fresh color. May have tears, minor paper loss, minor hazing. Paper may be brittle due to age, may have minor stains. May have a small amount of writing in an unobtrusive place. May have medium or major restoration.
Fair
A poster with faded colors and brittle paper, showing significant signs of use. May have tears and paper loss. May have tape, writing, stains in image area. In need of restoration or had major restoration.
Poor
A poster that is worn, torn, and/or damaged. May have staining, cracking, dry rot, and/or large tears. May be heavily soiled, may have pieces missing. In need of major restoration.
All photographs and images used on our site are photographs of the actual poster/item you are buying, we do not use stock photographs.
LOBBY CARD
11 x 14″ printed on heavy stock paper. Used as display in theatre lobbies. Originally made in sets of eight. Some sets have a title card, which contains credits and artwork, essentially a mini-poster. The remaining seven cards are coloured photographic credits and poster artwork showing different scenes from the movie.
WINDOW CARD
14 x 22″ printed on heavy stock paper with the top 4-6 inches usually left blank for the local cinema owner to fill in the cinema and the date it was due to play. Largely discontinued during the 1970’s.
HALF SHEET
22 x 28″ printed on heavy stock paper. The image displayed is normally a smaller version of the main poster, although some do have different artworks and sometimes come in two versions.
INSERT
14 x 36″ printed on heavy stock paper. Inserts usually have the same artwork as a one sheet. Popular with collectors since they are smaller and easier to frame. Normally come tri folded or rolled.
STYLE Y/FORTY BY SIXTY
40 x 60″ printed on heavy stock paper. Rare since they were primarily used for major motion pictures only. Designed to be used outside the theatre, on an easel, normally at a drive-in movie theatre.
ONE-SHEET
27 x 41″ printed on paper. This is the most common size of poster, intended to be displayed in a glass “marquee” case. It is the most sought after size by collectors. Since the 1980’s most posters are sent to the theatre rolled and maybe slightly smaller measuring 27″ by 40″ and with the advent of backlit light boxes a growing number of modern movie posters are available double-sided and the more traditional single-sided.
THREE-SHEET
41 x 81″ printed on paper. These were printed on two or three separate sheets designed to overlap, few survive. Used for larger advertising spaces, normally posted on walls, perfect for huge movie theatres the drive-in, where people could see them from a distance. From the 1970’s on, three-sheets were sometimes printed in one piece and issued as “international” versions to be used abroad.
BRITISH QUAD
30 x 40″ Most common poster size used in the UK. British Quads are horizontal and may have different artwork to the US one sheet. Like a US one sheet they normally come in two versions. Like a US one sheet they are usually supplied single-sided or more commonly now as a double sided poster.
BRITISH ONE-SHEET
27 X 40″, printed on paper. Very rarely used size.
ITALIAN LOCANDINA
13 x 28″ six inches shorter than the US insert, very nice size to frame. Italian poster illustrators are some of the best in the industry.
ITALIAN PHOTOBUSTA
18 x 26″ Glossy, high quality, used as lobby cards in Italy. Size may vary, either vertical or horizontal format. There are also double Photobusta or mini Photobusta.
2-FOGLIO (DUE)
(DUE): 39 x 55″ This is the standard poster size used in Italy. Italian poster illustrators are some of the best in the industry.
4-FOGLIO
(QUATTRO) 55 x 79″ Very large Italian poster printed in two pieces, often contains very beautiful artwork.
FRENCH
47 x 63″ (GRANDE) or 24 x 33″ (PETITE) French movie posters normally come with different artwork to either the US or the UK. Like the Italian’s some of the artwork is extrememly beautiful.
