ensemble poster design — Centered Group · Oversized Title · Top Title

Three mobsters stare out of the black. At the top, three adult men in suits face the camera: a young man at the left, a mustached man with a red tie at the center, a smiling older man at the right; their names appear above them in white: "雷·利奥塔", "罗伯特·德尼罗", "乔·佩西". Below, a tagline, a huge white title "好家伙", director credit "马丁·斯科塞斯执导", subtitle "黑手党生涯三十年", a fallen body on a street, and a full English credit block with the WB shield. The image is cold, swaggering, and doomed. At the top, the text "TITLE" appears as three white names above the three faces; at the center, the text "TITLE" appears in huge white Chinese characters "好家伙" in a bold, classic face, arranged horizontally; below it, smaller white text reads "马丁·斯科塞斯执导" and "黑手党生涯三十年"; above the title, a small white tagline reads "从我记事起，我就一直想成为一名黑帮成员。亨利·希尔，纽约布鲁克林，1955年。"; at the bottom, a dense English credit block and the WB logo appear in small white type. Cold, hard, crime-drama lighting models the three faces against the black like mugshots. The central man's red tie is the only warm note in the black field, a drop of blood. The young man's stare is hungry and empty, a killer's apprentice. The older man's smile is the worst thing in the frame: friendly and lethal. The fallen body on the street below is small and crumpled, the price of the life. The street's wet asphalt reflects the white title like a mirror of the underworld. The tagline's first-person confession sets the film's voice: a boy who wanted this. The credit block is dense and tiny, a legal wall under the myth. The WB shield at the lower right is a stamp of studio legitimacy on a crime story. The black background swallows the suits' shoulders, leaving only faces and the red tie. The white title's blocky forms are heavy and declarative, a verdict. The mustached man's heavy brow is pure De Niro, a face that has seen everything twice. The young man's slicked hair catches the light, a 1950s shine on a 1990s killer. The three white suits glow against the black, a uniform of belonging. The red tie's knot is perfect, a small discipline in a lawless life. The tagline's date, 1955, anchors the myth in a Brooklyn childhood. The fallen body's suit is dark against the wet street, a shape the camera will not dignify. The street's neon signs blur at the edges, a neighborhood that saw nothing. The title's white is stark and flat, a headline, not a whisper. The director credit sits small between rules, a signature on the crime. The subtitle's "thirty years" is the film's scope in three characters. The composition stacks the three staring faces above the fallen body and the white title, using a black, white, and red palette with a crime-saga style and a cold, wiseguy, thirty-years-in-the-life mood.