فهرست پرفروش‌ترین فیلم‌های جهان

درآمد فیلم‌ها، معمولاً در گیشه، از انتشار نسخهٔ خانگی فیلم‌ها و فروش حق پخش تلویزیونی به‌دست می‌آید. میزان فروش در گیشه، به دلیل دارا بودن سهم عمده، ارزیابی میزان موفقیت با این که در مقایسه با نسخه خانگی و درآمد از حق پخش تلویزیونی را دستی به آن آسان‌تر است، بیشتر مورد توجه قرار می‌گیرد.

بر باد رفته سی وچهار سال رکورد پرفروش‌ترین فیلم جهان را از آن خود کرد و هنوز هم با احتساب تورم این عنوان را داراست.[1]

به‌طور سنتی، فیلم‌های جنگی و درام‌های تاریخی، ژانرهای محبوب بوده‌اند، اما در قرن ۲۱ میلادی، ژانر ابرقهرمانی بین مخاطبان جایگاه دارد: برخی آثار بتمن و سوپرمن از شرکت دی‌سی و فیلم‌های مارول مانند مرد عنکبوتی و فیلم‌های دنیای سینمایی مارول نیز در جدول هستند.[1]

انتقام جویان: پایان بازی موفق‌ترین فیلم ابرقهرمانی است . همچنین سری فیلم‌های انتقام جویان که بر پایه شخصیت‌های گروه انتقام جویان ساخته شده در ۱۰ فیلم پرفروش قرار دارند. علاوه بر این سری فیلم‌های مرد عنکبوتی و مردان ایکس از مارول کامیکس در گیشه موفق بوده‌اند. جنگ ستارگان نیز در نمودار فروش زیر با چهار فیلم نمایش داده می‌شود در حالی که فیلم‌های هری پاتر، پارک ژوراسیک و دزدان دریایی کاراییب به فروش موفقیت‌آمیزی دست یافتند.

تنها فیلم‌هایی که در ۱۰ فیلم پرفروش قرار دارند و اقتباس، دنباله یا بازسازی نیستند، آواتار و تایتانیک هستند که هردوی آن‌ها را جیمز کامرون نوشته، تهیه و کارگردانی کرده‌است. فیلم‌های پویانمایی نیز معمولاً نمایش خوبی در گیشه داشته‌اند. پویانمایی‌هایی مانند شیرشاه (همراه انیمیشن کامپیوتری خود به عنوان پرفروش‌ترین انیمیشن جهان)، منجمد ۲، منجمد و زوتوپیا از دیزنی و همچنین شگفت‌انگیزان ۲، داستان اسباب‌بازی ۴، داستان اسباب‌بازی ۳ در جستجوی دوری و مجموعه ماشین‌ها از پیکسار پرفروش‌ترین پویانمایی‌ها بوده‌اند. مجموعه‌های شرک، عصر یخبندان، ماداگاسکار و من نفرت‌انگیز از دیگر پویانمایی‌های موفق بوده‌اند.

با وجود این که تورم، موفقیت برخی مجموعه فیلم‌ها در دهه‌های ۶۰ و ۷۰ میلادی را کم‌رنگ کرده‌است، هنوز مجموعه‌های از آن زمان وجود دارند که ادامه یافته‌اند و فیلم‌هایشان هنوز ساخته می‌شود. فیلم‌های مجموعه‌ای سوپرمن، جیمز باند و پیشتازان فضا به صورت دوره‌ای منتشر می‌شوند.

در این بین نقش تورم و گرانی کمرنگ نیست. به‌طور مثال بر باد رفته که ۳۴ سال پرفروش‌ترین فیلم تاریخ بود، هم‌اکنون در فهرست پرفروش‌ترین‌ها حتی بین ۵۰ فیلم اول هم قرار ندارد. اما با احتساب نرخ تورم، این فیلم همچنان پرفروش‌ترین فیلم تاریخ است.

پرفروش‌ترین فیلم

اولین و سومین فیلم‌های پرفروش جهان، هر دو به نویسندگی و کارگردانی جیمز کامرون بوده‌است.

آواتار با فروش بیش از ۲٬۸ میلیارد دلار، پرفروش‌ترین فیلم تاریخ هستند. البته این مبلغ فقط شامل فروش فیلم در سالن‌های سینما است و فروش دی‌وی‌دی‌ها و بخش سینمای خانگی در آن محاسبه نشده‌است که همین بخش، گاهی بیشتر موفقیت مالی فیلم‌ها را شکل می‌دهد. اگر اطلاعات فروش دی‌وی‌دی‌ها و سینمای خانگی محاسبه شوند، دیگر واضح نیست کدام فیلم پرفروش‌ترین بوده‌است. تایتانیک ۲۵ میلیون نسخه ویدئو (VHS) و ۵ میلیون نسخه دی‌وی‌دی و ۴۰۰ هزار نسخه بلو-ری در آمریکای شمالی فروخت و در نهایت ۱٬۲ میلیارد دلار فروش ویدئو، دی‌وی‌دی، بلو-ری و اجاره فیلم در سراسر جهان داشته[2] و بیش از ۲٬۲ میلیارد دلار در سینماها جهان فروخته‌است. آواتار ۱۹ میلیون نسخه دی‌وی‌دی و بیش از ۷ میلیون نسخه بلو-ری در آمریکای شمالی فروخت و ۴۰۱ میلیون دلار کسب کرد.[3] در همین حال ۳۰ میلیون نسخه از دی‌وی‌دی و دیسک بلو-ری آن در دیگر نقاط جهان به فروش رفت.[4] با محاسبهٔ فروش سینمای خانگی و اجاره، هر دو فیلم جمعاً ۳ میلیارد دلار درآمد داشته‌اند. پخش تلویزیونی نیز به درآمد فیلم اضافه می‌شود. هر فیلم معمولاً با پخش شدن از چندین شبکه مختلف، حدود ۲۰ تا ۲۵ درصد فروش سینمایی‌اش نصیبش می‌شود.[5] تایتانیک برای پخش شدن از شبکه‌های ان‌بی‌سی و اچ‌بی‌او حدود ۵۵ میلیون دلار به دست آورد،[2] که تقریباً معادل ۹٪ فروشش در آمریکای شمالی است.

وقتی یک فیلم دارای خاصیت بهره‌برداری بسیار بالایی باشد، فروش سینمایی آن می‌تواند در مقابل درآمدهای فرعی آن کم به نظر برسد.[6] شیرشاه حدود ۲ میلیارد دلار در گیشه و سینمای خانگی فروخت،[7] اما اقتباس‌های نمایشی از آن در سرتاسر جهان ۸ میلیارد دلار فروش داشت.[8] همچنین فروش کالاهای مرتبط با فیلم هم می‌تواند تأثیرگذار باشد: شیرشاه از این راه ۳ میلیارد دلار درآمد کسب کرد،[9] و ماشین‌ها که در سال ۲۰۰۶ منتشر شد و فروش جهانی آن به ۴۶۲ میلیون دلار رسید که در مقایسه با دیگر فیلم‌های پیکسار فروش پایین‌تری داشته‌[10] ولی پنج سال بعد از انتشار فیلم ۸ میلیارد دلار فقط از راه فروش کالاهای مرتبط با آن به دست آورد.[11][12] داستان اسباب‌بازی ۳ که فیلم دیگری از استودیوی پیکسار است، در کنار فروش ۱ میلیاردی‌اش در گیشه، حدود ۱۰ میلیارد دلار از راه فروش کالا بدست آورد.[13][14]

در این جدول، فیلم‌ها بر اساس فروششان در گیشه رتبه‌بندی شده‌اند و بهترین رتبه‌شان در این جدول آورده شده‌است.

فیلم‌های پرفروش[15]

رتبه	بهترین رتبه	عنوان	فروش جهانی	سال	منابع
۱	۱	آواتار	$۲٬۸۴۷٬۲۴۶٬۲۰۳	۲۰۰۹	[# 1][# 2]
۲	۱	انتقام‌جویان: پایان بازی	$۲٬۷۹۷٬۵۰۱٬۳۲۸	۲۰۱۹	[# 3][# 4]
۳	۱	تایتانیک	$۲٬۲۰۷٬۹۸۶٬۵۴۵	۱۹۹۷	[# 5][# 6]
۴	۳	جنگ ستارگان: نیرو برمی‌خیزد	$۲٬۰۶۸٬۴۵۴٬۱۳۳	۲۰۱۵	[# 7][# 8]
۵	۴	انتقام‌جویان: جنگ ابدیت	$۲٬۰۴۸٬۳۵۹٬۷۵۴	۲۰۱۸	[# 9][# 10]
۶	۳	دنیای ژوراسیک	$۱٬۶۷۰٬۴۲۶٬۴۴۴	۲۰۱۵	[# 11][# 12]
۷	۷	شیرشاه	$۱٬۶۵۷٬۸۷۰٬۹۸۶	۲۰۱۹	[# 13][# 14]
۸	۳	انتقام‌جویان	$۱٬۵۱۸٬۸۱۵٬۵۱۵	۲۰۱۲	[# 15][# 16]
۹	۴	سریع و خشمگین ۷	$۱٬۵۱۵٬۲۵۵٬۶۲۲	۲۰۱۵	[# 17][# 18]
۱۰	۱۰	منجمد ۲	$۱٬۴۵۰٬۰۲۶٬۹۳۳	۲۰۱۹	[# 19]
۱۱	۵	انتقام‌جویان: عصر اولتران	$۱٬۴۰۲٬۸۰۹٬۵۴۰	۲۰۱۵	[# 20][# 18]
۱۲	۹	پلنگ سیاه	$۱٬۳۴۷٬۵۹۷٬۹۷۳	۲۰۱۸	[# 21]
۱۳	۳	هری پاتر و یادگاران مرگ - قسمت دوم	$۱٬۳۴۲٬۲۲۳٬۹۳۶	۲۰۱۱	[# 22][# 23]
۱۴	۹	جنگ ستارگان: آخرین جدای	$۱٬۳۳۲٬۶۹۸٬۸۳۰	۲۰۱۷	[# 24]
۱۵	۱۲	دنیای ژوراسیک: سقوط پادشاهی	$۱٬۳۱۰٬۴۶۴٬۶۸۰	۲۰۱۸	[# 25]
۱۶	۵	منجمد	$۱٬۲۸۱٬۰۱۹٬۲۷۵	۲۰۱۳	[# 26]
۱۷	۱۰	دیو و دلبر	$۱٬۲۶۴٬۰۶۴٬۸۳۱	۲۰۱۷	[# 27][# 28]
۱۸	۱۵	شگفت انگیزان ۲	$۱٬۲۴۳٬۰۸۹٬۲۴۴	۲۰۱۸	[# 29]
۱۹	۱۱	سرنوشت خشمگین	$۱٬۲۳۶٬۰۰۵٬۱۱۸	۲۰۱۷	[# 30][# 28]
۲۰	۵	مرد آهنی ۳	$۱٬۲۱۴٬۸۱۱٬۲۵۲	۲۰۱۳	[# 31][# 32]
۲۱	۱۰	مینیون‌ها	$۱٬۱۵۹٬۴۴۴٬۶۶۲	۲۰۱۵	[# 33][# 34]
۲۲	۱۲	کاپیتان آمریکا: جنگ داخلی	$۱٬۱۵۳٬۵۶۱٬۶۴۹	۲۰۱۶	[# 35][# 36]
۲۳	۲۰	آکوامن	$۱٬۱۴۸٬۴۸۵٬۸۸۶	۲۰۱۸	[# 37][# 38]
۲۴	۲	ارباب حلقه‌ها: بازگشت پادشاه	$۱٬۱۴۲٬۴۵۶٬۹۸۷	۲۰۰۳	[# 39][# 40]
۲۵	۲۳	مرد عنکبوتی: دور از خانه	$۱٬۱۳۱٬۹۲۷٬۹۹۶	۲۰۱۹	[# 41]
۲۶	۲۲	کاپیتان مارول	$۱٬۱۲۸٬۴۶۲٬۹۷۲	۲۰۱۹	[# 42][# 43]
۲۷	۴	تبدیل‌شوندگان: نیمه تاریک ماه	$۱٬۱۲۳٬۷۹۴٬۰۷۹	۲۰۱۱	[# 44][# 23]
۲۸	۷	اسکای‌فال	$۱٬۱۰۸٬۵۶۱٬۰۱۳	۲۰۱۲	[# 45][# 46]
۲۹	۱۰	تبدیل‌شوندگان: عصر انقراض	$۱٬۱۰۴٬۰۵۴٬۰۷۲	۲۰۱۴	[# 47][# 48]
۳۰	۲	شیرشاه	$۱٬۰۸۳٬۷۲۰٬۸۷۷	۱۹۹۴	[16][17]
۳۱	۷	شوالیه تاریکی برمی‌خیزد	$۱٬۰۸۱٬۱۴۲٬۶۱۲	۲۰۱۲	[# 49][# 50]
۳۲	۳۱	جوکر	$۱٬۰۷۴٬۲۵۱٬۳۱۱	۲۰۱۹	[# 51][# 36]
۳۳	۳۲	جنگ ستارگان: خیزش اسکای‌واکر	$۱٬۰۷۴٬۱۴۴٬۲۴۸	۲۰۱۹	[# 52]
۳۴	۳۰	داستان اسباب‌بازی ۴	$۱٬۰۷۳٬۳۹۴٬۵۹۳	۲۰۱۹	[# 53][# 14]
۳۵	۴	داستان اسباب‌بازی ۳	$۱٬۰۶۶٬۹۷۰٬۸۱۱	۲۰۱۰	[# 42][# 54]
۳۶	۳	دزدان دریایی کارائیب: صندوقچه مرد مرده	$۱٬۰۶۶٬۱۷۹٬۷۴۷	۲۰۰۶	[# 55][# 56]
۳۷	۲۰	روگ وان: داستانی از جنگ ستارگان	$۱٬۰۵۶٬۰۵۷٬۷۲۰	۲۰۱۶	[# 57][# 58]
۳۸	۳۵	علاءالدین	$۱٬۰۵۰٬۶۹۳٬۹۵۳	۲۰۱۹	[# 59]
۳۹	۶	دزدان دریایی کارائیب: سوار بر امواج ناشناخته	$۱٬۰۴۵٬۷۱۳٬۸۰۲	۲۰۱۱	[# 60][# 61]
۴۰	۳۶	من نفرت‌انگیز ۳	$۱٬۰۳۴٬۸۰۰٬۱۳۱	۲۰۱۷	[# 62][# 28]
۴۱	۱	پارک ژوراسیک	$۱٬۰۳۳٬۹۲۸٬۳۰۳	۱۹۹۳	[# 63][# 64]
۴۲	۲۲	در جستجوی دوری	$۱٬۰۲۸٬۵۷۰٬۹۴۲	۲۰۱۶	[# 65][# 66]
۴۳	۲	جنگ ستارگان اپیزود اول: تهدید شبح	$۱٬۰۲۷٬۰۸۲٬۷۰۷	۱۹۹۹	[# 67][# 6]
۴۴	۵	آلیس در سرزمین عجایب	$۱٬۰۲۵٬۴۶۸٬۲۱۶	۲۰۱۰	[# 68][# 69]
۴۵	۲۴	زوتوپیا	$۱٬۰۲۳٬۷۹۲٬۵۵۸	۲۰۱۶	[# 70][# 36]
۴۶	۱۴	هابیت: یک سفر غیرمنتظره	$۱٬۰۱۷٬۰۰۳٬۵۶۸	۲۰۱۲	[# 71][# 72]
۴۷	۲	هری پاتر و سنگ جادو	$۱٬۰۰۶٬۹۶۸٬۱۷۱	۲۰۰۱	[# 73][# 74]
۴۸	۴	شوالیه تاریکی	$۱٬۰۰۵٬۹۷۳٬۶۴۵	۲۰۰۸	[# 75][# 76]
۴۹	۱۰	هری پاتر و یادگاران مرگ - قسمت اول	$۹۷۶٬۹۹۹٬۲۴۳	۲۰۱۰	[# 77][# 78]
۵۰	۱۹	من نفرت‌انگیز ۲	$۹۷۰٬۷۶۶٬۰۰۵	۲۰۱3	[# 79][# 80]

با احتساب تورم

پرفروش‌ترین فیلم‌ها با احتساب نرخ تورم[18][19]

رتبه	عنوان	فروش جهانی (دلار ۲۰۱۹)	سال	منابع
۱	بربادرفته	$۱۵٬۴۶۸٬۱۹۳٬۴۷۴	۱۹۳۹	[# 81]
۲	تایتانیک	$۴٬۳۸۲٬۷۴۰٬۴۰۹	۱۹۹۷	[# 82]
۳	آواتار	$۳٬۳۸۸٬۵۶۲٬۰۰۷	۲۰۰۹	[# 83]
۴	جنگ ستارگان	$۳٬۱۶۷٬۵۶۷٬۳۲۹	۱۹۷۷	[# 84]
۵	انتقام جویان: پایان بازی	$۲٬۷۹۷٬۸۰۰٬۵۶۴	۲۰۱۹	[# 85]
۶	اشک‌ها و لبخندها	$۲٬۵۸۱٬۵۹۶٬۱۸۴	۱۹۶۵	[# 86]
۷	ای. تی. موجود فرازمینی	$۲٬۵۸۱٬۵۶۹٬۱۸۴	۱۹۸۲	[# 87]
۸	ده فرمان	$۲٬۳۶۱٬۰۰۰٬۰۰۰	۱۹۵۶	[# 88]
۹	دکتر ژیواگو	$۲٬۲۳۸٬۰۰۰٬۰۰۰	۱۹۶۵	[# 89]
۱۰	جنگ ستارگان: نیرو برمی‌خیزد	$۲٬۲۳۵٬۰۵۵٬۴۲۳	۲۰۱۵	[# 90]

پرفروش‌ترین‌ها بر پایه سال

پرفروش‌ترین فیلم‌ها بر پایه سال[20][21][22]

سال	عنوان	فروش جهانی	بودجه	منابع
۱۹۱۵	تولد یک ملت	$۵۰٬۰۰۰٬۰۰۰–۱۰۰٬۰۰۰٬۰۰۰ $۲۰٬۰۰۰٬۰۰۰+^R ($۵٬۲۰۰٬۰۰۰)^R	$۱۱۰٬۰۰۰	[# 91][# 92][# 93]
۱۹۱۶	تعصب	$۱٬۰۰۰٬۰۰۰^*^R ^IN	$۴۸۹٬۶۵۳	[# 94][# 95]
۱۹۱۷	کلئوپاترا	$۵۰۰٬۰۰۰^*^R	$۳۰۰٬۰۰۰	[# 94]
۱۹۱۸	میکی	$۸٬۰۰۰٬۰۰۰	$۲۵۰٬۰۰۰	[# 96]
۱۹۱۹	مرد شگفت‌انگیز	$۳٬۰۰۰٬۰۰۰^R	$۱۲۰٬۰۰۰	[# 97]
۱۹۲۰	در دوردست شرق	$۵٬۰۰۰٬۰۰۰^R ($۴٬۰۰۰٬۰۰۰)^R	$۸۰۰٬۰۰۰	[# 98][# 99]
۱۹۲۱	چهار سوار آخرالزمان	$۵٬۰۰۰٬۰۰۰^R ($۴٬۰۰۰٬۰۰۰)^R	$۶۰۰٬۰۰۰–۸۰۰٬۰۰۰	[# 100]
۱۹۲۲	رابین هود	$۲٬۵۰۰٬۰۰۰^R	$۹۳۰٬۰۴۲٫۷۸	[# 101][# 102]
۱۹۲۳	واگن سرپوشیده	$۵٬۰۰۰٬۰۰۰^R	$۸۰۰٬۰۰۰	[# 103][# 104]
۱۹۲۴	شاهین دریا	$۳٬۰۰۰٬۰۰۰^R	$۷۰۰٬۰۰۰	[# 103]
۱۹۲۵	جشن بزرگ	$۱۸٬۰۰۰٬۰۰۰–۲۲٬۰۰۰٬۰۰۰^R ($۶٬۱۳۱٬۰۰۰)^R	$۳۸۲٬۰۰۰	[# 105][# 106][# 107]
	بن هور	$۱۰٬۷۳۸٬۰۰۰^R ($۹٬۳۸۶٬۰۰۰)^R	$۳٬۹۶۷٬۰۰۰	[# 108][# 109]
۱۹۲۶	محض رضای خدا	$۲٬۶۰۰٬۰۰۰^R ^FH	$۱۵۰٬۰۰۰	[# 98][# 110]
۱۹۲۷	بال‌ها	$۳٬۶۰۰٬۰۰۰^R	$۲٬۰۰۰٬۰۰۰	[# 98][# 111][# 112]
۱۹۲۸	احمق آوازخوان	$۵٬۹۰۰٬۰۰۰^R	$۳۸۸٬۰۰۰	[# 112][# 113]
۱۹۲۹	نوای برادوی	$۴٬۴۰۰٬۰۰۰–۴٬۸۰۰٬۰۰۰^R	$۳۷۹٬۰۰۰	[# 114][# 115]
	به سمت آفتاب	$۳٬۵۰۰٬۰۰۰^*^R ^SS	$۶۰۰٬۰۰۰	[# 116][# 117]
۱۹۳۰	در جبهه غرب خبری نیست	$۳٬۰۰۰٬۰۰۰^R	$۱٬۲۵۰٬۰۰۰	[# 98][# 118][# 119][# 120]
۱۹۳۱	فرانکنشتاین	$۱۲٬۰۰۰٬۰۰۰^R ($۱٬۴۰۰٬۰۰۰)^R	$۲۵۰٬۰۰۰	[# 121][# 122]
	روشنایی‌های شهر	$۵٬۰۰۰٬۰۰۰^R	$۱٬۶۰۷٬۳۵۱	[# 123]
۱۹۳۲	نشانه‌های صلیب	$۲٬۷۳۸٬۹۹۳^R	$۶۹۴٬۰۶۵	[# 104][# 124][# 125][# 126]
۱۹۳۳	کینگ کونگ	$۵٬۳۴۷٬۰۰۰^R ($۱٬۸۵۶٬۰۰۰)^R	$۶۷۲٬۲۵۵٫۷۵	[# 127]
	من فرشته نیستم	$۳٬۲۵۰٬۰۰۰+^R	$۲۰۰٬۰۰۰	[# 128][# 129]
	سواران	$۳٬۰۰۰٬۰۰۰–۴٬۰۰۰٬۰۰۰^R	$۱٬۱۱۶٬۰۰۰	[# 99][# 119]
	آن زن به او بد کرد	$۳٬۰۰۰٬۰۰۰+^R	$۲۷۴٬۰۷۶	[# 130][# 131][# 132]
۱۹۳۴	کریسمس مبارک بیوه	$۲٬۶۰۸٬۰۰۰^R	$۱٬۶۰۵٬۰۰۰	[# 133][# 125]
	در یک شب اتفاق افتاد	$۱٬۰۰۰٬۰۰۰^R ^ON	$۳۲۵٬۰۰۰	[# 134][# 135]
۱۹۳۵	شورش در بونتی	$۴٬۴۶۰٬۰۰۰^R	$۱٬۹۰۵٬۰۰۰	[# 125]
۱۹۳۶	سان فرانسیسکو	$۶٬۰۴۴٬۰۰۰+^R ($۵٬۲۷۳٬۰۰۰)^R	$۱٬۳۰۰٬۰۰۰	[# 133][# 125]
۱۹۳۷	سفیدبرفی و هفت کوتوله	$۴۱۸٬۰۰۰٬۰۰۰+^S7 ($۸٬۵۰۰٬۰۰۰)^R	$۱٬۴۸۸٬۴۲۳	[# 136][# 137]
۱۹۳۸	نمی‌توانی این را با خودت ببری	$۵٬۰۰۰٬۰۰۰^R	$۱٬۲۰۰٬۰۰۰	[# 138][# 139]
۱۹۳۹	بر باد رفته	$۳۹۰٬۵۲۵٬۱۹۲–۴۰۲٬۳۵۲٬۵۷۹ ($۳۲٬۰۰۰٬۰۰۰)^R ^GW	$۳٬۹۰۰٬۰۰۰–۴٬۲۵۰٬۰۰۰	[# 140][# 141][# 142][# 143][# 144]
۱۹۴۰	پینوکیو	$۸۷٬۰۰۰٬۸۶۲^* ($۳٬۵۰۰٬۰۰۰)^R	$۲٬۶۰۰٬۰۰۰	[# 145][# 137][# 146]
	شهر بوم	$۴٬۶۰۰٬۰۰۰^*^R	$۲٬۱۰۰٬۰۰۰	[# 147][# 148]
۱۹۴۱	گروهبان یورک	$۷٬۸۰۰٬۰۰۰^R	$۱٬۶۰۰٬۰۰۰	[# 149][# 150]
۱۹۴۲	بامبی	$۲۶۷٬۹۹۷٬۸۴۳ ($۳٬۴۴۹٬۳۵۳)^R	$۱٬۷۰۰٬۰۰۰–۲٬۰۰۰٬۰۰۰	[# 151][# 152][# 153]
	خانم مینی‌ور	$۸٬۸۷۸٬۰۰۰^R	$۱٬۳۴۴٬۰۰۰	[# 154][# 155]
۱۹۴۳	زنگ‌ها برای که به صدا در می‌آیند	$۱۱٬۰۰۰٬۰۰۰^R	$۲٬۶۸۱٬۲۹۸	[# 156][# 157][# 158]
	این ارتش	$۹٬۵۵۵٬۵۸۶٫۴۴^*^R	$۱٬۴۰۰٬۰۰۰	[# 159][# 160][# 158]
۱۹۴۴	به راه خود می‌روم	$۶٬۵۰۰٬۰۰۰^*^R	$۱٬۰۰۰٬۰۰۰	[# 161][# 162][# 163]
۱۹۴۵	مامان و بابا	$۸۰٬۰۰۰٬۰۰۰^MD/$۲۲٬۰۰۰٬۰۰۰^R	$۶۵٬۰۰۰	[# 164]
	زنگ‌های کلیسای مریم مقدس	$۱۱٬۲۰۰٬۰۰۰^R	$۱٬۶۰۰٬۰۰۰	[# 165]
۱۹۴۶	ترانه جنوب	$۶۵٬۰۰۰٬۰۰۰^* ($۳٬۳۰۰٬۰۰۰)^R	$۲٬۱۲۵٬۰۰۰	[# 166][# 167][# 168]
	بهترین سال‌های زندگی ما	$۱۴٬۷۵۰٬۰۰۰^R	$۲٬۱۰۰٬۰۰۰	[# 169][# 170]
	جدال در آفتاب	$۱۰٬۰۰۰٬۰۰۰^*^R	$۵٬۲۵۵٬۰۰۰	[# 161][# 171]
۱۹۴۷	کهربا برای همیشه	$۸٬۰۰۰٬۰۰۰^R	$۶٬۳۷۵٬۰۰۰	[# 116][# 171]
	فتح نشده	$۷٬۵۰۰٬۰۰۰^R ^UN	$۴٬۲۰۰٬۰۰۰	[# 172][# 173]
۱۹۴۸	رژه عید پاک	$۵٬۹۱۸٬۱۳۴^R	$۲٬۵۰۰٬۰۰۰	[# 163][# 174]
	کفش‌های قرمز	$۵٬۰۰۰٬۰۰۰^*^R	£۵۰۵٬۵۸۱ (~$۲٬۰۰۰٬۰۰۰)	[# 161][# 175][# 176]
	گودال مار	$۴٬۱۰۰٬۰۰۰^*^R	$۳٬۸۰۰٬۰۰۰	[# 177][# 178]
۱۹۴۹	سامسون و دلیله	$۱۴٬۲۰۹٬۲۵۰^R	$۳٬۰۹۷٬۵۶۳	[# 179][# 104]
۱۹۵۰	سیندرلا	$۲۶۳٬۵۹۱٬۴۱۵ ($۲۰٬۰۰۰٬۰۰۰/$۷٬۸۰۰٬۰۰۰^R)	$۲٬۲۰۰٬۰۰۰	[# 180][# 181][# 182]
	معادن شاه سلیمان	$۱۰٬۰۵۰٬۰۰۰^R	$۲٬۲۵۸٬۰۰۰	[# 183]
۱۹۵۱	کجا می‌روی	$۲۱٬۰۳۷٬۰۰۰–۲۶٬۷۰۰٬۰۰۰^R	$۷٬۶۲۳٬۰۰۰	[# 179][# 184][# 185]
۱۹۵۲	این سینه‌راما است	$۵۰٬۰۰۰٬۰۰۰^CI	$۱٬۰۰۰٬۰۰۰	[# 186][# 187]
	بزرگترین نمایش روی زمین	$۱۸٬۳۵۰٬۰۰۰^R ^GS	$۳٬۸۷۳٬۹۴۶	[# 188][# 189][# 104]
۱۹۵۳	پیترپن	$۱۴۵٬۰۰۰٬۰۰۰	$۳٬۰۰۰٬۰۰۰–۴٬۰۰۰٬۰۰۰	[# 190]
	ردا	$۲۵٬۰۰۰٬۰۰۰–۲۶٬۱۰۰٬۰۰۰^R	$۴٬۱۰۰٬۰۰۰	[# 191][# 192][# 185]
۱۹۵۴	پنجره عقبی	$۲۴٬۵۰۰٬۰۰۰^* ($۵٬۳۰۰٬۰۰۰)^*^R	$۱٬۰۰۰٬۰۰۰	[# 193][# 184]
	کریسمس سفید	$۲۶٬۰۰۰٬۰۵۰^* ($۱۲٬۰۰۰٬۰۰۰)^*^R	$۳٬۸۰۰٬۰۰۰	[# 194][# 195][# 196]
	۲۰٬۰۰۰ فرسنگ زیر دریا	$۲۵٬۰۰۰٬۱۳۴^* ($۶٬۸۰۰٬۰۰۰–۸٬۰۰۰٬۰۰۰)^*^R	$۴٬۵۰۰٬۰۰۰–۹٬۰۰۰٬۰۰۰	[# 197][# 198][# 161][# 199]
۱۹۵۵	بانو و ولگرد	$۱۸۷٬۰۰۰٬۰۰۰ ($۶٬۵۰۰٬۰۰۰)^*^R	$۴٬۰۰۰٬۰۰۰	[# 200][# 161][# 201]
	تعطیلات سینراما	$۲۱٬۰۰۰٬۰۰۰^CI	$۲٬۰۰۰٬۰۰۰	[# 202][# 203]
	آقای رابرتس	$۹٬۹۰۰٬۰۰۰^R	$۲٬۴۰۰٬۰۰۰	[# 204]
۱۹۵۶	ده فرمان	$۹۰٬۰۶۶٬۲۳۰^R ($۱۲۲٬۷۰۰٬۰۰۰/$۵۵٬۲۰۰٬۰۰۰^R)	$۱۳٬۲۷۰٬۰۰۰	[# 104][# 205][# 206]
۱۹۵۷	پل رودخانه کوای	$۳۰٬۶۰۰٬۰۰۰^R	$۲٬۸۴۰٬۰۰۰	[# 206]
۱۹۵۸	آرام جنوبی	$۳۰٬۰۰۰٬۰۰۰^R	$۵٬۶۱۰٬۰۰۰	[# 207]
۱۹۵۹	بن هور	$۹۰٬۰۰۰٬۰۰۰^R ($۱۴۶٬۹۰۰٬۰۰۰/$۶۶٬۱۰۰٬۰۰۰^R)	$۱۵٬۹۰۰٬۰۰۰	[# 208][# 209]
۱۹۶۰	خانواده سوئیسی رابینسون	$۳۰٬۰۰۰٬۰۰۰^R	$۴٬۰۰۰٬۰۰۰	[# 210]
	اسپارتاکوس	$۶۰٬۰۰۰٬۰۰۰ ($۲۲٬۱۰۵٬۲۲۵)^R	$۱۰٬۲۸۴٬۰۱۴	[# 211][# 212]
	روانی	$۵۰٬۰۰۰٬۰۰۰+ ($۱۴٬۰۰۰٬۰۰۰)^R	$۸۰۰٬۰۰۰	[# 213]
۱۹۶۱	صد و یک سگ خالدار	$۲۱۵٬۸۸۰٬۲۱۲	$۳٬۶۰۰٬۰۰۰–۴٬۰۰۰٬۰۰۰	[# 214][# 215][# 153]
	داستان وست ساید	$۱۰۵٬۰۰۰٬۰۰۰ ($۳۱٬۸۰۰٬۰۰۰)^R	$۷٬۰۰۰٬۰۰۰	[# 216][# 217]
۱۹۶۲	لورنس عربستان	$۷۷٬۳۲۴٬۸۵۲ ($۶۹٬۹۹۵٬۳۸۵)	$۱۳٬۸۰۰٬۰۰۰	[# 218][# 219]
	چگونه غرب تسخیر شد	$۳۵٬۰۰۰٬۰۰۰^R	$۱۴٬۴۸۳٬۰۰۰	[# 220]
	طولانی‌ترین روز	$۳۳٬۲۰۰٬۰۰۰^R	$۸٬۶۰۰٬۰۰۰	[# 217][# 219]
۱۹۶۳	کلئوپاترا	$۴۰٬۳۰۰٬۰۰۰^R	$۳۱٬۱۱۵٬۰۰۰	[# 217][# 219]
	از روسیه با عشق	$۷۸٬۹۰۰٬۰۰۰/$۲۹٬۴۰۰٬۰۰۰^R ($۱۲٬۵۰۰٬۰۰۰)^R	$۲٬۰۰۰٬۰۰۰	[# 221][# 222][# 223]
۱۹۶۴	بانوی زیبای من	$۵۵٬۰۰۰٬۰۰۰^R	$۱۷٬۰۰۰٬۰۰۰	[# 224]
	پنجه‌طلایی	$۱۲۴٬۹۰۰٬۰۰۰ ($۴۶٬۰۰۰٬۰۰۰)^R	$۳٬۰۰۰٬۰۰۰	[# 221][# 223]
	مری پاپینز	$۴۴٬۰۰۰٬۰۰۰–$۵۰٬۰۰۰٬۰۰۰^R	$۵٬۲۰۰٬۰۰۰	[# 225][# 224]
۱۹۶۵	اشک‌ها و لبخندها	$۲۸۶٬۲۱۴٬۰۷۶ ($۱۱۴٬۶۰۰٬۰۰۰)^R	$۸٬۰۰۰٬۰۰۰	[# 226][# 217]
۱۹۶۶	کتاب مقدس	$۲۵٬۳۰۰٬۰۰۰^R	$۱۸٬۰۰۰٬۰۰۰	[# 212]
	هاوایی	$۳۴٬۵۶۲٬۲۲۲^* ($۱۵٬۶۰۰٬۰۰۰)^*^R	$۱۵٬۰۰۰٬۰۰۰	[# 227][# 161]
	چه کسی از ویرجینیا وولف می‌ترسد؟	$۳۰٬۰۰۰٬۰۰۰^* ($۱۴٬۵۰۰٬۰۰۰)^*^R	$۷٬۶۱۳٬۰۰۰	[# 228][# 161][# 229]
۱۹۶۷	کتاب جنگل	$۳۷۸٬۰۰۰٬۰۰۰ ($۲۳٬۸۰۰٬۰۰۰)^R	$۳٬۹۰۰٬۰۰۰–۴٬۰۰۰٬۰۰۰	[# 200][# 230][# 231][# 153]
	فارغ‌التحصیل	$۸۵٬۰۰۰٬۰۰۰^R	$۳٬۱۰۰٬۰۰۰	[# 232][# 233]
۱۹۶۸	۲۰۰۱: ادیسه فضایی	$۱۴۱٬۰۰۰٬۰۰۰–۱۹۰٬۰۰۰٬۰۰۰ ($۲۱٬۹۰۰٬۰۰۰)^R	$۱۰٬۳۰۰٬۰۰۰	[# 234][# 217]
	دختر شوخ (فیلم	$۸۰٬۰۰۰٬۰۰۰–۱۰۰٬۰۰۰٬۰۰۰	$۸٬۸۰۰٬۰۰۰	[# 235][# 236]
۱۹۶۹	بوچ کسیدی و ساندنس کید	$۱۵۲٬۳۰۸٬۵۲۵ ($۳۷٬۱۰۰٬۰۰۰)^R	$۶٬۶۰۰٬۰۰۰	[# 237][# 217][# 233]
۱۹۷۰	داستان عشق	$۸۰٬۰۰۰٬۰۰۰^R	$۲٬۲۶۰٬۰۰۰	[# 238][# 239]
	فرودگاه	$۷۵٬۰۰۰٬۰۰۰^R	$۱۰٬۰۰۰٬۰۰۰	[# 240][# 241]
۱۹۷۱	ارتباط فرانسوی	$۷۵٬۰۰۰٬۰۰۰^R	$۳٬۳۰۰٬۰۰۰	[# 116]
	ویولن‌زن روی بام	$۴۹٬۴۰۰٬۰۰۰^R ($۱۰۰٬۰۰۰٬۰۰۰/$۴۵٬۱۰۰٬۰۰۰^R)	$۹٬۰۰۰٬۰۰۰	[# 242][# 243]
	الماس‌ها ابدی‌اند	$۱۱۶٬۰۰۰٬۰۰۰ ($۴۵٬۷۰۰٬۰۰۰)^R	$۷٬۲۰۰٬۰۰۰	[# 221][# 222]
۱۹۷۲	پدرخوانده	$۲۴۵٬۰۶۶٬۰۴۴–۲۸۶٬۰۰۰٬۰۰۰ ($۱۲۷٬۶۰۰٬۰۰۰–۱۴۲٬۰۰۰٬۰۰۰)^R	$۶٬۲۰۰٬۰۰۰	[# 244][# 243][# 245][# 246]
۱۹۷۳	جن گیر	$۴۱۳٬۰۷۱٬۹۴۸ ($۱۱۰٬۰۰۰٬۰۰۰)^R	$۱۰٬۰۰۰٬۰۰۰	[# 247][# 248]
	نیش	$۱۱۵٬۰۰۰٬۰۰۰^R	$۵٬۵۰۰٬۰۰۰	[# 249][# 250]
۱۹۷۴	آسمانخراش جهنمی	$۹۱٬۸۳۸٬۰۰۰^R	$۱۴٬۳۰۰٬۰۰۰	[# 251][# 252][# 253][# 254]
	زین‌های شعله‌ور	$۸۰٬۰۰۰٬۰۰۰+^R	$۲٬۶۰۰٬۰۰۰	[# 255][# 256]
۱۹۷۵	آرواره‌ها	$۴۷۰٬۶۵۳٬۵۹۱ ($۱۹۳٬۷۰۰٬۰۰۰)^R	$۹٬۰۰۰٬۰۰۰	[# 257][# 258][# 259]
۱۹۷۶	راکی	$۲۲۵٬۰۰۰٬۰۰۰ ($۷۷٬۱۰۰٬۰۰۰)^R	$۱٬۰۷۵٬۰۰۰	[# 260][# 243][# 261]
۱۹۷۷	جنگ ستارگان	$۷۷۵٬۳۹۸٬۰۰۷ ($۵۳۰٬۰۰۰٬۰۰۰^SW/$۲۶۸٬۵۰۰٬۰۰۰^R)	$۱۱٬۲۹۳٬۱۵۱	[# 262][# 263][# 243][# 264]
۱۹۷۸	گریس	$۳۹۵٬۴۵۲٬۰۶۶ ($۳۴۱٬۰۰۰٬۰۰۰)	$۶٬۰۰۰٬۰۰۰	[# 265][# 266][# 232][# 267]
۱۹۷۹	مون‌ریکر	$۲۱۰٬۳۰۰٬۰۰۰	$۳۱٬۰۰۰٬۰۰۰	[# 221][# 268]
	راکی ۲	$۲۰۰٬۱۸۲٬۲۸۹	$۷٬۰۰۰٬۰۰۰	[# 269][# 270][# 268]
۱۹۸۰	امپراتوری ضربه می‌زند	$۵۴۷٬۹۶۹٬۰۰۴ ($۴۱۳٬۵۶۲٬۶۰۷)^SW	$۲۳٬۰۰۰٬۰۰۰–۳۲٬۰۰۰٬۰۰۰	[# 271][# 272]
۱۹۸۱	مهاجمان صندوق گمشده	$۳۸۹٬۹۲۵٬۹۷۱ ($۳۲۱٬۸۶۶٬۰۰۰–۳۵۳٬۹۸۸٬۰۲۵)	$۱۸٬۰۰۰٬۰۰۰–۲۲٬۸۰۰٬۰۰۰	[# 273]
۱۹۸۲	ای. تی. موجود فرازمینی	$۷۹۲٬۹۱۰٬۵۵۴ ($۶۱۹٬۰۰۰٬۰۰۰–۶۶۴٬۰۰۰٬۰۰۰)	$۱۰٬۵۰۰٬۰۰۰–۱۲٬۲۰۰٬۰۰۰	[# 274][# 263][# 275][# 276]
۱۹۸۳	بازگشت جدای	$۴۷۵٬۱۰۶٬۱۷۷ ($۳۸۵٬۸۴۵٬۱۹۷)^SW	$۳۲٬۵۰۰٬۰۰۰–۴۲٬۷۰۰٬۰۰۰	[# 277][# 272]
۱۹۸۴	ایندیانا جونز و معبد مرگ	$۳۳۳٬۱۰۷٬۲۷۱	$۲۷٬۰۰۰٬۰۰۰–۲۸٬۲۰۰٬۰۰۰	[# 278][# 279][# 280]
۱۹۸۵	بازگشت به آینده	$۳۸۹٬۰۵۳٬۷۹۷ ($۳۸۱٬۱۰۹٬۷۶۲)	$۱۹٬۰۰۰٬۰۰۰–۲۲٬۰۰۰٬۰۰۰	[# 281][# 282]
۱۹۸۶	تاپ گان	$۳۵۶٬۸۳۰٬۶۰۱ ($۳۴۵٬۰۰۰٬۰۰۰)	$۱۴٬۰۰۰٬۰۰۰–۱۹٬۰۰۰٬۰۰۰	[# 283][# 284][# 279]
۱۹۸۷	جذابیت مرگبار	$۳۲۰٬۱۴۵٬۹۰۵	$۱۴٬۰۰۰٬۰۰۰	[# 285][# 279]
۱۹۸۸	مرد بارانی	$۳۵۴٬۸۲۵٬۴۷۶	$۳۰٬۰۰۰٬۰۰۰	[# 286][# 287]
۱۹۸۹	ایندیانا جونز و آخرین جنگ صلیبی	$۴۷۴٬۱۷۱٬۸۰۶–۴۹۴٬۰۰۰٬۰۰۰	$۳۶٬۰۰۰٬۰۰۰–۵۵٬۴۰۰٬۰۰۰	[# 288][# 279][# 289]
۱۹۹۰	روح	$۵۰۵٬۷۰۲٬۴۲۳	$۲۲٬۰۰۰٬۰۰۰	[# 290][# 279]
۱۹۹۱	نابودگر ۲: روز داوری	($۵۱۹٬۸۴۳٬۳۴۵)	$۹۴٬۰۰۰٬۰۰۰	[# 291][# 292]
۱۹۹۲	علاءالدین	$۵۰۴٬۰۵۰٬۰۴۵	$۲۸٬۰۰۰٬۰۰۰	[# 293][# 153]
۱۹۹۳	پارک ژوراسیک	$۱٬۰۲۹٬۹۳۹٬۹۰۳ ($۹۱۴٬۶۹۱٬۱۱۸)	$۶۳٬۰۰۰٬۰۰۰–۷۰٬۰۰۰٬۰۰۰	[# 63]
۱۹۹۴	شیرشاه	$۹۶۸٬۴۸۳٬۷۷۷ ($۷۶۳٬۴۵۵٬۵۶۱)	$۴۵٬۰۰۰٬۰۰۰–۷۹٬۳۰۰٬۰۰۰	[# 294]
۱۹۹۵	داستان اسباب‌بازی	$۳۷۳٬۵۵۴٬۰۳۳ ($۳۶۴٬۸۷۳٬۷۷۶)	$۳۰٬۰۰۰٬۰۰۰	[# 295][# 296]
	جان‌سخت ۳	$۳۶۶٬۱۰۱٬۶۶۶	$۷۰٬۰۰۰٬۰۰۰	[# 297][# 298]
۱۹۹۶	روز استقلال	$۸۱۷٬۴۰۰٬۸۹۱	$۷۵٬۰۰۰٬۰۰۰	[# 299]
۱۹۹۷	تایتانیک	$۲٬۱۹۴٬۴۳۹٬۵۴۲ ($۱٬۸۴۳٬۲۰۱٬۲۶۸)	$۲۰۰٬۰۰۰٬۰۰۰	[# 5]
۱۹۹۸	آرماگدون	$۵۵۳٬۷۰۹٬۶۲۶	$۱۴۰٬۰۰۰٬۰۰۰	[# 300][# 301]
۱۹۹۹	جنگ ستارگان اپیزود اول: تهدید شبح	$۱٬۰۲۷٬۰۴۴٬۶۷۷ ($۹۲۴٬۳۱۷٬۵۵۸)	$۱۱۵٬۰۰۰٬۰۰۰–۱۲۷٬۵۰۰٬۰۰۰	[# 67][# 272]
۲۰۰۰	مأموریت غیرممکن ۲	$۵۴۶٬۳۸۸٬۱۰۵	$۱۰۰٬۰۰۰٬۰۰۰–۱۲۵٬۰۰۰٬۰۰۰	[# 302][# 279]
۲۰۰۱	هری پاتر و سنگ جادو	$۹۷۵٬۰۵۱٬۲۸۸ ($۹۷۴٬۷۵۵٬۳۷۱)	$۱۲۵٬۰۰۰٬۰۰۰	[# 73]
۲۰۰۱	هری پاتر و سنگ جادو	$۱٬۰۰۶٬۹۱۷٬۶۶۲ ($۹۷۴٬۷۵۵٬۳۷۱)	$۱۲۵٬۰۰۰٬۰۰۰	[# 73]
۲۰۰۲	ارباب حلقه‌ها: دو برج	$۹۵۱٬۲۰۸٬۰۸۹ ($۹۳۶٬۶۸۹٬۷۳۵)	$۹۴٬۰۰۰٬۰۰۰	[# 303]
۲۰۰۳	'ارباب حلقه‌ها: بازگشت پادشاه	$۱٬۱۴۲٬۲۱۹٬۴۰۱ ($۱٬۱۴۰٬۶۸۲٬۰۱۱)	$۹۴٬۰۰۰٬۰۰۰	[# 39]
۲۰۰۴	شرک ۲	$۹۱۹٬۸۳۸٬۷۵۸	$۱۵۰٬۰۰۰٬۰۰۰	[# 304]
۲۰۰۵	هری پاتر و جام آتش	$۸۹۷٬۰۹۹٬۷۹۴ ($۸۹۶٬۹۱۱٬۰۷۸)	$۱۵۰٬۰۰۰٬۰۰۰	[# 305]
۲۰۰۶	دزدان دریایی کارائیب: صندوقچه مرد مرده	$۱٬۰۶۶٬۱۷۹٬۷۲۵	$۲۲۵٬۰۰۰٬۰۰۰	[# 55]
۲۰۰۷	دزدان دریایی کارائیب: پایان جهان	$۹۶۳٬۴۲۰٬۴۲۵	$۳۰۰٬۰۰۰٬۰۰۰	[# 306]
۲۰۰۸	شوالیه تاریکی	$۱٬۰۰۴٬۵۵۸٬۴۴۴ ($۹۹۷٬۰۳۹٬۴۱۲)	$۱۸۵٬۰۰۰٬۰۰۰	[# 75]
۲۰۰۹	آواتار	$۲٬۷۹۰٬۴۳۹٬۰۰۰ ($۲٬۷۴۹٬۰۶۴٬۳۲۸)	$۲۳۷٬۰۰۰٬۰۰۰	[# 3][# 307]
۲۰۱۰	داستان اسباب‌بازی ۳	$۱٬۰۶۶٬۹۶۹٬۷۰۳	$۲۰۰٬۰۰۰٬۰۰۰	[# 42]
۲۰۱۱	هری پاتر و یادگاران مرگ - قسمت دوم	$۱٬۳۴۱٬۶۹۳٬۱۵۷ ($۱٬۳۴۱٬۵۱۱٬۲۱۹)	$۲۵۰٬۰۰۰٬۰۰۰^HP	[# 22]
۲۰۱۲	انتقام جویان	$۱٬۵۱۸٬۸۱۲٬۹۸۸	$۲۲۰٬۰۰۰٬۰۰۰	[# 15]
۲۰۱۳	منجمد	$۱٬۲۹۰٬۰۰۰٬۰۰۰ ($۱٬۲۸۷٬۰۰۰٬۰۰۰)	$۱۵۰٬۰۰۰٬۰۰۰	[# 26]
۲۰۱۴	تبدیل‌شوندگان: عصر انقراض	$۱٬۱۰۴٬۰۳۹٬۰۷۶	$۲۱۰٬۰۰۰٬۰۰۰	[# 47]
۲۰۱۵	جنگ ستارگان: نیرو برمی‌خیزد	$۲٬۰۶۸٬۲۲۳٬۶۲۴	$۲۴۵٬۰۰۰٬۰۰۰	[# 7]
۲۰۱۶	کاپیتان آمریکا: جنگ داخلی	$۱٬۱۵۳٬۳۰۴٬۴۹۵	$۲۵۰٬۰۰۰٬۰۰۰	[# 308]
۲۰۱۷	جنگ ستارگان: آخرین جدای	$۱٬۳۳۲٬۵۳۹٬۸۸۹	$۲۰۰٬۰۰۰٬۰۰۰	[# 24]
۲۰۱۸	انتقام‌جویان: جنگ ابدیت	$۲٬۰۴۸٬۳۵۹٬۷۵۴	$۳۱۶٬۰۰۰٬۰۰۰–۴۰۰٬۰۰۰٬۰۰۰	[# 9][# 309]
۲۰۱۹	انتقام جویان: پایان بازی	$۲٬۷۹۷٬۸۰۰٬۵۶۴	$۳۵۶٬۰۰۰٬۰۰۰	[# 1]
۲۰۲۰	پسران بد تا ابد	$۴۲۵٬۵۱۴٬۷۰۲	$۹۰٬۰۰۰٬۰۰۰	[23]

^HPهزینه‌های تولید با هری پاتر و یادگاران مرگ - قسمت ۱ تقسیم شد..

جستارهای وابسته

• پرفروش‌ترین فیلم‌های سینمای ایران
• فهرست پرفروش‌ترین فیلم‌های سینمای هند

منابع

پانویس

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17. [Krämer, Peter (1999). "Women First: Titanic, Action-Adventure Films, and Hollywood's Female Audience". In Sandler, Kevin S. ; Studlar, Gaylyn. Titanic: Anatomy of a Blockbuster. Rutgers University Press. pp. 108–131. ISBN 978-0-8135-2669-0. "p. 130: The list has Jurassic Park at number one with $913 million, followed by The Lion King..." «شیرشاه»] مقدار |نشانی= را بررسی کنید (کمک).
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19. Glenday, Craig, ed. (2011). Гиннесс. Мировые рекорды (به Russian, translated by Andrianov, P.I. & Palova, and I.V.) (2012 ed.). Moscow: Astrel. p. 211. ISBN 978-5-271-36423-5. Unknown parameter |trans_title= ignored (help)
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62. "Despicable Me 3 (2017)". Box Office Mojo. Retrieved January 13, 2018.
63. Jurassic Park
    • Total: "Jurassic Park (1993)". Box Office Mojo. Retrieved September 15, 2013. Worldwide: $1,029,153,882; Production Budget: $63 million
    • Original release: "Jurassic Park (1993)". Box Office Mojo. Archived from the original on January 19, 2013. Retrieved April 5, 2013. $914,691,118
    • 2011 re-release: "Jurassic Park (2011 re-release)". Box Office Mojo. Retrieved January 17, 2015. United Kingdom: $786,021
    • As of 2010: Block & Wilson 2010, pp. 756–757. "Production Cost: $70.0 (Unadjusted $s in Millions of $s) … Jurassic Park was a smash at the box office, bringing in $920 million in worldwide box office and spawning two sequels."
64. Krämer, Peter (1999). "Women First: Titanic, Action-Adventure Films, and Hollywood's Female Audience". In Sandler, Kevin S.; Studlar, Gaylyn. Titanic: Anatomy of a Blockbuster. Rutgers University Press. pp. 108–131. ISBN 978-0-8135-2669-0. p. 130: The list has Jurassic Park at number one with $913 million, followed by The Lion King...
65. "Finding Dory (2016)". Box Office Mojo. Retrieved April 24, 2017.
66. "All Time Worldwide Box Office". Box Office Mojo. Archived from the original on December 25, 2016.
67. Star Wars Episode I: The Phantom Menace
    • Total: "Star Wars: Episode I – The Phantom Menace (1999)". Box Office Mojo. Retrieved April 2, 2012. $1,027,044,677
    • Original release: "Star Wars: Episode I – The Phantom Menace (1999)". Box Office Mojo. Archived from the original on July 19, 2011. Retrieved November 8, 2012. $924,317,558
68. "Alice in Wonderland (2010)". Box Office Mojo. Retrieved July 17, 2011.
69. "All Time Worldwide Box Office". Box Office Mojo. Archived from the original on July 1, 2010.
70. "Zootopia (2016)". Box Office Mojo. Retrieved January 7, 2017.
71. "The Hobbit: An Unexpected Journey (2012)". Box Office Mojo. Retrieved April 22, 2013.
72. "All Time Worldwide Box Office". Box Office Mojo. Archived from the original on April 2, 2013.
73. Harry Potter and the Philosopher's Stone
    • Total: "Harry Potter and the Sorceror's Stone (2001)". Box Office Mojo. Retrieved January 31, 2019.
    • Re-release (2018): "Harry Potter & the Sorcerer's Stone (2018 re-release)". Box Office Mojo. Retrieved January 31, 2019. North America: $295,917
74. "All Time Worldwide Box Office". Box Office Mojo. Archived from the original on April 2, 2003.
75. The Dark Knight
    • Total: "The Dark Knight (2008)". Box Office Mojo. Retrieved October 28, 2012. Total: $1,004,558,444
    • Original release (excluding 2009 IMAX reissue): "The Dark Knight". The Numbers. Nash Information Services. LLC. Archived from the original on February 8, 2009. Retrieved October 28, 2012. North America: $531,039,412 (as of January 22, 2009); Overseas: $466,000,000; IMAX re-release: January 23, 2009
    • 2009 IMAX re-release: "Warner Bros. Entertainment Wraps Record-Breaking Year". Warner Bros. January 8, 2009. Retrieved April 22, 2016. With worldwide receipts of $997 million, “The Dark Knight” is currently fourth on the all-time box office gross list, and the film is being re-released theatrically on January 23.
    • First-run gross and IMAX reissue: Gray, Brandon (February 20, 2009). "Billion Dollar Batman". Box Office Mojo. Retrieved June 7, 2014. The Dark Knight had been hovering just shy of $1 billion for several months and reportedly sat at $997 million when Warner Bros. modestly relaunched it on Jan. 23, timed to take advantage of the announcement of the Academy Awards nominations on Jan. 22.
76. "All Time Worldwide Box Office". Box Office Mojo. Archived from the original on February 28, 2009.
77. "Harry Potter and the Deathly Hallows Part 1 (2010)". Box Office Mojo. Retrieved March 1, 2019.
78. "All Time Worldwide Box Office". Box Office Mojo. Archived from the original on February 28, 2011.
79. "Despicable Me 2 (2013)". Box Office Mojo. Retrieved February 24, 2013.
81. https://www.the-numbers.com/movies/custom-comparisons/Gone-with-the-Wind?mode=actuals#tab=day_by_day_comparison. Archived from [https://www.the-numbers.com/movies/custom-comparisons/Gone-with-the-Wind?mode=actuals#tah b=day_by_day_comparison/ the original] Check |url= value (help) on |archive-url= requires |archive-date= (help). line feed character in |url= at position 90 (help); Missing or empty |title= (help)
82. https://www.the-numbers.com/movies/custom-comparisons/Titanic-(1997)?mode=actuals#tab=day_by_day_comparison. Archived from the original on |archive-url= requires |archive-date= (help). Missing or empty |title= (help)
83. https://www.the-numbers.com/movies/custom-comparisons/Avatar?mode=actuals#tab=day_by_day_comparison. Archived from the original on |archive-url= requires |archive-date= (help). Missing or empty |title= (help)
84. https://www.the-numbers.com/movies/custom-comparisons/Star-Wars-Ep-IV-A-New-Hope?mode=actuals#tab=day_by_day_comparison. Archived from the original on |archive-url= requires |archive-date= (help). Missing or empty |title= (help)
85. https://www.the-numbers.com/movies/custom-comparisons/Avengers-Endgame-(2019)?mode=actuals#tab=day_by_day_comparison. Archived from the original on |archive-url= requires |archive-date= (help). Missing or empty |title= (help)
86. https://www.the-numbers.com/movies/custom-comparisons/Sound-of-Music-The/Ten-Commandments-The-(1956)?mode=actuals#tab=day_by_day_comparison. Archived from the original on |archive-url= requires |archive-date= (help). Missing or empty |title= (help)
87. https://www.the-numbers.com/movies/custom-comparisons/ET-The-Extra-Terrestrial?mode=actuals#tab=day_by_day_comparison. Archived from the original on |archive-url= requires |archive-date= (help). Missing or empty |title= (help)
88. https://www.the-numbers.com/movies/custom-comparisons/Sound-of-Music-The/Ten-Commandments-The-(1956)?mode=actuals#tab=day_by_day_comparison. Archived from the original on |archive-url= requires |archive-date= (help). Missing or empty |title= (help)
89. https://www.the-numbers.com/movies/custom-comparisons/Doctor-Zhivago?mode=actuals#tab=day_by_day_comparison. Archived from the original on |archive-url= requires |archive-date= (help). Missing or empty |title= (help)
90. https://www.the-numbers.com/movies/custom-comparisons/Star-Wars-Ep-VII-The-Force-Awakens?mode=actuals#tab=day_by_day_comparison. Archived from the original on |archive-url= requires |archive-date= (help). Missing or empty |title= (help)
91. Monaco, James (2009). How to Read a Film:Movies, Media, and Beyond. Oxford University Press. p. 262. ISBN 978-0-19-975579-0. The Birth of a Nation, costing an unprecedented and, many believed, thoroughly foolhardy $110,000, eventually returned $20 million and more. The actual figure is hard to calculate because the film was distributed on a "states' rights" basis in which licenses to show the film were sold outright. The actual cash generated by The Birth of a Nation may have been as much as $50 million to $100 million, an almost inconceivable amount for such an early film.
92. Wasko, Janet (1986). "D.W. Griffiths and the banks: a case study in film financing". In Kerr, Paul. The Hollywood Film Industry: A Reader. Routledge. p. 34. ISBN 978-0-7100-9730-9. Various accounts have cited $15 to $18 million profits during the first few years of release, while in a letter to a potential investor in the proposed sound version, Aitken noted that a $15 to $18 million box-office gross was a 'conservative estimate'. For years Variety has listed The Birth of a Nation's total rental at $50 million. (This reflects the total amount paid to the distributor, not box-office gross.) This 'trade legend' has finally been acknowledged by Variety as a 'whopper myth', and the amount has been revised to $5 million. That figure seems far more feasible, as reports of earnings in the Griffith collection list gross receipts for 1915–1919 at slightly more than $5.2 million (including foreign distribution) and total earnings after deducting general office expenses, but not royalties, at about $2 million.
93. Lang, Robert, ed. (1994). -9780813520278/page/30 The Birth of a nation: D.W. Griffith, director Check |url= value (help). Rutgers University Press. p. 30. ISBN 978-0-8135-2027-8. The film eventually cost $110,000 and was twelve reels long.
94. Block & Wilson 2010, p. 26.
    • Intolerance: "Domestic Rentals: $1.0 (Unadjusted $s in Millions of $s)."
    • Cleopatra: "Domestic Rentals: $0.5; Production Cost: $0.3 (Unadjusted $s in Millions of $s)."
95. Birchard, Robert S. (2010), Intolerance, p. 45, Intolerance was the most expensive American film made up until that point, costing a total of $489,653, and its performance at the box … but it did recoup its cost and end with respectable overall numbers. In: Block & Wilson 2010.
96. Coons, Robin (June 30, 1939). "Hollywood Chatter". The Daytona Beach News-Journal. p. 6.
97. Shipman, David (1970). The great movie stars: the golden years. Crown Publishing Group. p. 98. It was a low budgeter—$120,000—but it grossed world-wide over $3 million and made stars of Chaney and his fellow-players, Betty Compson and Thomas Meighan.
98. "Biggest Money Pictures". Variety. June 21, 1932. p. 1. Cited in "Biggest Money Pictures". Cinemaweb. Archived from the original on July 8, 2011. Retrieved July 14, 2011.
99. Solomon, Aubrey (2011). The Fox Film Corporation, 1915–1935: A History and Filmography. McFarland & Company. ISBN 978-0-7864-6286-5.
    • Way Down East: p. 52. "D.W. Griffith's Way Down East (1920) was projected to return rentals of $4,000,000 on an $800,000 negative. This figure was based on the amounts earned from its roadshow run, coupled with its playoff in the rest of the country's theaters. Griffith had originally placed the potential film rental at $3,000,000 but, because of the success of the various roadshows that were running the $4,000,000 total was expected. The film showed a profit of $615,736 after just 23 weeks of release on a gross of $2,179,613."
    • What Price Glory?: p. 112. "What Price Glory hit the jackpot with massive world rentals of $2,429,000, the highest figure in the history of the company. Since it was also the most expensive production of the year at $817,000 the profit was still a healthy $796,000..."
    • Cavalcade: p. 170. "The actual cost of Cavalcade was $1,116,000 and it was most definitely not guaranteed a success. In fact, if its foreign grosses followed the usual 40 percent of domestic returns, the film would have lost money. In a turnaround, the foreign gross was almost double the $1,000,000 domestic take to reach total world rentals of $3,000,000 and Fox's largest profit of the year at $664,000."
    • State Fair: p. 170. "State Fair did turn out to be a substantial hit with the help of Janet Gaynor boosting Will Rogers back to the level of money-making star. Its prestige engagements helped raked in a total $1,208,000 in domestic rentals. Surprisingly, in foreign countries unfamiliar with state fairs, it still earned a respectable $429,000. With its total rentals, the film ended up showing a $398,000 profit."
100. Hall & Neale 2010, p. 53. "The Four Forsemen of the Apocalypse was to become Metro's most expensive production and one of the decade's biggest box-office hits. Its production costs have been estimated at "something between $600,000 and $800,000." Variety estimated its worldwide gross at $4 million in 1925 and at $5 million in 1944; in 1991, it estimated its cumulative domestic rentals at $3,800,000."
101. Brownlow, Kevin (1968). The parade's gone by . University of California Press. p. 255. ISBN 978-0-520-03068-8. The negative cost was about $986,000, which did not include Fairbanks' own salary. Once the exploitation and release prints were taken into account, Robin Hood cost about $1,400,000—exceeding both Intolerance ($700,000) and the celebrated "million dollar movie" Foolish Wives. But it earned $2,500,000.
102. Vance, Jeffrey (2008). Douglas Fairbanks. University of California Press. p. 146. ISBN 978-0-520-25667-5. The film had a production cost of $930,042.78—more than the cost of D.W. Griffith's Intolerance and nearly as much as Erich von Stroheim's Foolish Wives (1922).
103. "Business: Film Exports". Time. July 6, 1925. Archived from the original on November 5, 2010. Retrieved July 12, 2011.
104. Birchard, Robert S. (2009). Cecil B. DeMille's Hollywood. University Press of Kentucky. ISBN 978-0-8131-3829-9.
     • ch. 45. The Ten Commandments (1923). "Cost: $1,475,836.93; Gross: $4,169,798.38"
     • ch. 56. The Sign of the Cross. "Cost: $694,064.67; Gross: $2,738,993.35 (to 1937)"
     • ch. 68. Samson and Delilah. "Cost: $3,097,563.05"
     • ch. 69. The Greatest Show on Earth. "Cost: $3,873,946.50; Gross receipts: $15,797,396.36 (to December 29, 1962)"
     • ch. 70. The Ten Commandments (1956). "Cost: $13,272,381.87; Gross receipts: $90,066,230.00 (to June 23, 1979)"
105. May, Richard P. (Fall 2005), "Restoring The Big Parade", The Moving Image, 5 (2): 140–146, doi:10.1353/mov.2005.0033, ISSN 1532-3978, ...earning somewhere between $18 and $22 million, depending on the figures consulted
106. Robertson, Patrick (1991). Guinness Book of Movie Facts and Feats (4 ed.). Abbeville Publishing Group. p. 30. ISBN 978-1-55859-236-0. The top grossing silent film was King Vidor's The Big Parade (US 25), with worldwide rentals of $22 million.
107. Hall & Neale 2010, pp. 58–59. "Even then, at a time when the budget for a feature averaged at around $300,000, no more than $382,000 was spent on production...According to the Eddie Mannix Ledger at MGM, it grossed $4,990,000 domestically and $1,141,000 abroad."
108. "Ben-Hur (1925) – Notes". Turner Classic Movies. Retrieved December 19, 2017.
109. Hall & Neale 2010, p. 163. "MGM's silent Ben-Hur, which opened at the end of 1925, had out-grossed all the other pictures released by the company in 1926 combined. With worldwide rentals of $9,386,000 on first release it was, with the sole possible exception of The Birth of a Nation, the highest-earning film of the entire silent era. (At a negative cost of $3,967,000, it was also the most expensive.)"
110. Miller, Frank. "For Heaven's Sake (1926) – Articles". Turner Classic Movies. Retrieved January 15, 2012.
111. Finler 2003, p. 188. "At a cost of $2 million Wings was the studio's most expensive movie of the decade, and though it did well it was not good enough to earn a profit."
112. The Jazz Singer and The Singing Fool
     • Block, Hayley Taylor (2010), The Jazz Singer, p. 113, The film brought in $2.6 million in worldwide rentals and made a net profit of $1,196,750. Jolson's follow-up Warner Bros. film, The Singing Fool (1928), brought in over two times as much, with $5.9 in worldwide rentals and a profit of $3,649,000, making them two of the most profitable films in the 1920s. In: Block & Wilson 2010.
113. Crafton, Donald (1999). The Talkies: American Cinema's Transition to Sound, 1926–1931. University of California Press. pp. 549–552. ISBN 978-0-520-22128-4. The Singing Fool: Negative Cost ($1000s): 388
114. Birchard, Robert S. (2010), The Broadway Melody, p. 121, It earned $4.4 million in worldwide rentals and was the first movie to spawn sequels (there were several until 1940). In: Block & Wilson 2010.
115. Bradley, Edwin M. (2004) [1st. pub. 1996]. The First Hollywood Musicals: A Critical Filmography of 171 Features, 1927 Through 1932. McFarland & Company. ISBN 978-0-7864-2029-2.
     • The Singing Fool: p. 12. "Ego aside, Jolson was at the top of his powers in The Singing Fool. The $150,000 Warner Bros. paid him to make it, and the $388,000 it took to produce the film, were drops in the hat next to the film's world gross of $5.9 million. Its $3.8-million gross in this country set a box-office record that would not be surpassed until Walt Disney's Snow White and the Seven Dwarfs (1937)."
     • The Broadway Melody: p. 24. "The Broadway Melody with a negative cost of $379,000, grossed $2.8 million in the United States, $4.8 million worldwide, and made a recorded profit of $1.6 million for MGM."
     • Gold Diggers of Broadway: p. 58. "It grossed an impressive $2.5 million domestically and nearly $4 million worldwide."
116. Solomon, Aubrey (2002) [First published 1988]. Twentieth Century-Fox: a corporate and financial history. Filmmakers series. 20. Rowman & Littlefield. ISBN 978-0-8108-4244-1.
     • Sunny Side Up: p. 10. "Sunny Side Up, a musical starring Janet Gaynor and Charles Farrell, showed domestic rentals of $3.5 million, a record for the company."
     • Forever Amber: p. 66. "On the surface, with world rentals of $8 million, Forever Amber was considered a hit at distribution level."
     • The French Connection

     p. 167. "The Planet of the Apes motion pictures were all moneymakers and Zanuck's record would have immediately improved had he stayed through the release of The French Connection, which took in rentals of approximately $75 million worldwide."

     p. 256. "$3,300,00".

117. Block & Wilson 2010, p. 46. "Production Cost: $0.6 (Unadjusted $s in Millions of $s)."
118. Cormack, Mike (1993). Ideology and Cinematography in Hollywood, 1930–1939. Palgrave Macmillan. p. 28. ISBN 978-0-312-10067-4. Although costing $1250000—a huge sum for any studio in 1929—the film was a financial success. Karl Thiede gives the domestic box-office at $1500000, and the same figure for the foreign gross.
119. Balio, Tino (1996). Grand Design: Hollywood as a Modern Business Enterprise, 1930–1939. Volume 5 of History of the American Cinema. University of California Press. ISBN 978-0-520-20334-1.
     • Cavalcade: p. 182. "Produced by Winfield Sheehan at a cost of $1.25 million, Cavalcade won Academy Awards for best picture, director, art direction and grossed close to $4 million during its first release, much of which came from Great Britain and the Empire."
     • Whoopee: p. 212. "Produced by Sam Goldwyn at a cost of $1 million, the picture was an adaptation of a smash musical comedy built around Eddie Cantor...A personality-centered musical, Whoopee! made little attempt to integrate the comedy routines, songs, and story. Nonetheless, Cantor's feature-film debut grossed over $2.6 million worldwide and started a popular series that included Palmy Days (1931), The Kid from Spain (1932), and Roman Scandals (1933)."
120. Hell's Angels
     • Balio, Tino (1976). United Artists: The Company Built by the Stars. University of Wisconsin Press. p. 110. Hughes did not have the "Midas touch" the trade press so often attributed to him. Variety, for example, reported that Hell's Angels cost $3.2 million to make, and by July, 1931, eight months after its release, the production cost had nearly been paid off. Keats claimed the picture cost $4 million to make and that it earned twice that much within twenty years. The production cost estimate is probably correct. Hughes worked on the picture for over two years, shooting it first as a silent and then as a talkie. Lewis Milestone said that in between Hughes experimented with shooting it in color as well. But Variety's earnings report must be the fabrication of a delirious publicity agent, and Keats' the working of a myth maker. During the seven years it was in United Artists distribution, Hell's Angels grossed $1.6 million in the domestic market, of which Hughes' share was $1.2 million. Whatever the foreign gross was, it seems unlikely that it was great enough to earn a profit for the picture.
121. Feaster, Felicia. "Frankenstein (1931)". Turner Classic Movies. Retrieved July 4, 2011.
122. Block & Wilson 2010, p. 163. "It drew $1.4 million in worldwide rentals in its first run versus $1.2 million for Dracula, which had opened in February 1931."
123. Vance, Jeffrey (2003). Chaplin: genius of the cinema. Abrams Books. p. 208. Chaplin's negative cost for City Lights was $1,607,351. The film eventually earned him a worldwide profit of $5 million ($2 million domestically and $3 million in foreign distribution), an enormous sum of money for the time.
124. Ramsaye, Terry, ed. (1937). "The All-Time Best Sellers – Motion Pictures". International Motion Picture Almanac 1937–38: 942–943. Kid from Spain: $2,621,000 (data supplied by Eddie Cantor)
125. Sedgwick, John (2000). Popular Filmgoing In 1930s Britain: A Choice of Pleasures. University of Exeter Press. pp. 146–148. ISBN 978-0-85989-660-3. Sources: Eddie Mannix Ledger, made available to the author by Mark Glancy...
     • Grand Hotel: Production Cost $000s: 700; Distribution Cost $000s: 947; U.S. box-office $000s: 1,235; Foreign box-office $000s: 1,359; Total box-office $000s: 2,594; Profit $000s: 947.
     • The Merry Widow: Production Cost $000s: 1,605; Distribution Cost $000s: 1,116; U.S. box-office $000s: 861; Foreign box-office $000s: 1,747; Total box-office $000s: 2,608; Profit $000s: -113.
     • Viva Villa: Production Cost $000s: 1,022; Distribution Cost $000s: 766; U.S. box-office $000s: 941; Foreign box-office $000s: 934; Total box-office $000s: 1,875; Profit $000s: 87.
     • Mutiny on the Bounty: Production Cost $000s: 1,905; Distribution Cost $000s: 1,646; U.S. box-office $000s: 2,250; Foreign box-office $000s: 2,210; Total box-office $000s: 4,460; Profit $000s: 909.
     • San Francisco: Production Cost $000s: 1,300; Distribution Cost $000s: 1,736; U.S. box-office $000s: 2,868; Foreign box-office $000s: 2,405; Total box-office $000s: 5,273; Profit $000s: 2,237.
126. Shanghai Express
     • Block & Wilson 2010, p. 165. "Shanghai Express was Dietrich's biggest hit in America, bringing in $1.5 million in worldwide rentals."
127. King Kong
     • Jewel, Richard (1994). "RKO Film Grosses: 1931–1951". Historical Journal of Film Radio and Television. 14 (1): 39. 1933 release: $1,856,000; 1938 release: $306,000; 1944 release: $685,000
     • "King Kong (1933) – Notes". Turner Classic Movies. Retrieved January 7, 2012. 1952 release: $2,500,000; budget: $672,254.75
128. "I'm No Angel (1933) – Notes". Turner Classic Movies. Retrieved January 7, 2012. According to a modern source, it had a gross earning of $2,250,000 on the North American continent, with over a million more earned internationally.
129. Finler 2003, p. 188. "The studio released its most profitable pictures of the decade in 1933, She Done Him Wrong and I'm No Angel, written by and starring Mae West. Produced at a rock-bottom cost of $200,000 each, they undoubtedly helped Paramount through the worst patch in its history..."
130. Block, Alex Ben (2010), She Done Him Wrong, p. 173, The worldwide rentals of over $3 million keep the lights on at Paramount, which did not shy away from selling the movie's sex appeal. In: Block & Wilson 2010.
131. Phillips, Kendall R. (2008). Controversial Cinema: The Films That Outraged America. ABC-CLIO. p. 26. ISBN 978-1-56720-724-8. The reaction to West's first major film, however, was not exclusively negative. Made for a mere $200,000, the film would rake in a healthy $2 million in the United States and an additional million in overseas markets.
132. Block & Wilson 2010, p. 135. "Total production cost: $274,076 (Unadjusted $s)."
133. Turk, Edward Baron (2000) [1st. pub. 1998]. Hollywood Diva: A Biography of Jeanette MacDonald. University of California Press. ISBN 978-0-520-22253-3.
     • The Merry Widow: p. 361 Cost: $1,605,000. Earnings: domestic $861,000; foreign $1,747,000; total $2,608,000. Loss: $113,000.
     • San Francisco: p. 364 Cost: $1,300,000. Earnings: domestic $2,868,000; foreign $2,405,000; total $5,273,000. Profit: $2,237,000. [Reissues in 1938–39 and 1948–49 brought profits of $124,000 and $647,000 respectively.]
134. McBride, Joseph (2011). Frank Capra: The Catastrophe of Success. University Press of Mississippi. p. 309. ISBN 978-1-60473-838-4. According to the studio's books It Happened One Night brought in $1 million in film rentals during its initial release, but as Joe Walker pointed out, the figure would have been much larger if the film had not been sold to theaters on a block-booking basis in a package with more than two dozen lesser Columbia films, and the total rentals of the package spread among them all, as was customary in that era, since it minimized the risk and allowed the major studios to dominate the marketplace.
135. Dick, Bernard F. (2008). Claudette Colbert: She Walked in Beauty. University Press of Mississippi. p. 79. ISBN 978-1-60473-087-6. Although Columbia's president, Harry Cohn, had strong reservations about It Happened One Night, he also knew that it would not bankrupt the studio; the rights were only $5,000, and the budget was set at $325,000, including the performers' salaries.
136. Snow White and the Seven Dwarfs
     • Monaco, Paul (2010). A History of American Movies: A Film-By-Film Look at the Art, Craft, and Business of Cinema. Scarecrow Press. p. 54. ISBN 978-0-8108-7434-3. Considered a highly risky gamble when the movie was in production in the mid-1930s, by the fiftieth anniversary of its 1937 premiere Snow White's earnings exceeded $330 million.
     • Wilhelm, Henry Gilmer; Brower, Carol (1993). The Permanence and Care of Color Photographs: Traditional and Digital Color Prints, Color Negatives, Slides, and Motion Pictures. Preservation Pub. p. 359. ISBN 978-0-911515-00-8. In only 2 months after the 1987 re-release, the film grossed another $45 million—giving it a total gross to date of about $375 million!
     • "Snow White and the Seven Dwarfs (1987 Re-issue)". Boxoffice. Retrieved May 29, 2016. North American box-office: $46,594,719
     • "Snow White and the Seven Dwarfs (1993 Re-issue)". Boxoffice. Retrieved May 29, 2016. North American box-office: $41,634,791
137. Snow White and the Seven Dwarfs and Pinocchio
     • Block & Wilson 2010

     p. 207. "When the budget rose from $250,000 to $1,488,423 he even mortgaged his own home and automobile. Disney had bet more than his company on the success of Snow White."

     p. 237. "By the end of 1938, it had grossed more than $8 million in worldwide rentals and was ranked at the time as the second-highest-grossing film after the 1925 epic Ben-Hur".

     p. 255. "On its initial release Pinocchio brought in only $1.6 million in domestic rentals (compared with Snow White's $4.2 million) and $1.9 million in foreign rentals (compared with Snow White's $4.3 million)."

138. 1938
     • You Can't Take It With You:"You Can't Take It With You Premieres". Focus Features. Archived from the original on September 13, 2012. You Can't Take It With You received excellent reviews, won Best Picture and Best Director at the 1938 Academy Awards, and earned over $5 million worldwide.
     • Boys Town: Block, Alex Ben (2010), Boys Town, p. 215, The film quickly became a smash nationwide, making a profit of over $2 million on worldwide rentals of $4 million. In: Block & Wilson 2010.
     • The Adventures of Robin Hood: Glancy, H. Mark (1995). "Warner Bros Film Grosses, 1921–51: the William Schaefer ledger". Historical Journal of Film, Radio and Television. 1 (15): 55–60. doi:10.1080/01439689500260031. $3.981 million.
     • Alexander's Ragtime Band: Block, Hayley Taylor (2010), Alexander's Ragtime Band, p. 213, Once the confusion cleared, however, the film blossomed into a commercial success, with a profit of $978,000 on worldwide rentals of $3.6 million. In: Block & Wilson 2010.
139. Chartier, Roy (September 6, 1938). "You Can't Take It With You". Variety. Retrieved September 13, 2011.
140. "Gone with the Wind". The Numbers. Nash Information Services. LLC. Retrieved February 8, 2013.
141. "Gone with the Wind". Boxoffice. Retrieved May 29, 2016.
143. Gone with the Wind در باکس آفیس موجو
144. Hall & Neale 2010, p. 283 ."The final negative cost of Gone with the Wind (GWTW) has been variously reported between $3.9 million and $4.25 million."
145. "Pinocchio (1940)". Boxoffice. Retrieved May 29, 2016.
146. Barrier, Michael (2003). Hollywood Cartoons: American Animation in Its Golden Age. New York: Oxford University Press. p. 266. ISBN 978-0-19-983922-3. The film's negative cost was $2.6 million, more than $1 million higher than Snow White's.
147. Schatz, Thomas (1999) [1st. pub. 1997]. Boom and Bust: American Cinema in the 1940s. Volume 6 of History of the American Cinema. University of California Press. p. 466. ISBN 978-0-520-22130-7. Boom Town ($4.6 million).
148. Block & Wilson 2010, pp. 258–259. "Production Cost: $2.1 (Unadjusted $s in Millions of $s) … Boom Town was the biggest moneymaker of 1940 and one of the top films of the decade."
149. Block & Wilson 2010, p. 267. "With worldwide rentals of $7.8 million in its initial release, the movie made a net profit of over $3 million."
150. Finler 2003, p. 301. "The studio did particularly well with its war-related pictures, such as Sergeant York (1941), which cost $1.6 million but was the studio's biggest hit of the decade aside from This is the Army (1943), the Irving Berlin musical for which the profits were donated to the Army Emergency Relief fund."
151. "Bambi". Boxoffice. Retrieved May 29, 2016.
152. Block & Wilson 2010, p. 281. "Worldwide rentals of $3,449,353 barely recouped the film's nearly $2 million production cost."
153. Block & Wilson 2010, pp. 712–713.
     • Bambi: "Worldwide Box Office: $266.8; Production Cost: $1.7 (Millions of $s)"
     • 101 Dalmatians: "Worldwide Box Office: $215.0; Production Cost: $3.6 (Millions of $s)"
     • The Jungle Book: "Worldwide Box Office: $170.8"; Production Cost: $3.9 (Millions of $s)"
     • Aladdin: "Worldwide Box Office: $505.1"; Production Cost: $28.0 (Millions of $s)"
154. Glancy, Mark (1999). When Hollywood Loved Britain: The Hollywood 'British' Film 1939–1945. Manchester University Press. pp. 94–95. ISBN 978-0-7190-4853-1. Mrs Miniver was a phenomenon. It was the most popular film of the year (from any studio) in both North America and Britain, and its foreign earnings were three times higher than those of any other MGM film released in the 1941–42 season. The production cost ($1,344,000) was one of the highest of the season, indicating the studio never thought of the film as a potential loss-maker. When the film earned a worldwide gross of $8,878,000, MGM had the highest profit ($4,831,000) in its history. Random Harvest nearly matched the success of Mrs Miniver with worldwide earnings of $8,147,000 yielding the second-highest profit in MGM's history ($4,384,000). Random Harvest was also the most popular film of the year in Britain, where it proved to be even more popular than Britain's most acclaimed war film, In Which We Serve.
155. Block & Wilson 2010
     • Mrs. Miniver: Burns, Douglas (2010), Mrs. Miniver, p. 279, Mrs. Miniver's galvanizing effect on Americans spawned a record-breaking ten-week run at Radio City Music Hall and garnered a $5.4 million take in domestic rentals (making Mrs. Miniver 1942's top grosser), with a $4.8 million profit on worldwide rentals of $8.9 million.
     • Yankee Doodle Dandy: p. 275. "It became the second biggest box-office hit of 1942 (after Mrs. Miniver) and was praised by critics, making a profit of $3.4 million on worldwide rentals of $6.5 million."
156. McAdams, Frank (2010), For Whom the Bell Tolls, p. 287, Despite the early furor over the novel being “pro-red and immoral,” the film opened to strong and favorable reviews and brought in $11 million in worldwide rentals in its initial release. In: Block & Wilson 2010.
157. "For Whom the Bell Tolls (1943) – Notes". Turner Classic Movies. Retrieved June 24, 2012.
158. "A Guy Named Joe (1944) – Notes". Turner Classic Movies. Retrieved August 29, 2012. According to M-G-M studio records at the AMPAS Library, the film had a negative cost of $2,627,000 and took in $5,363,000 at the box office. When the picture was re-issued for the 1955–56 season, it took in an additional $150,000.
159. Bergreen, Laurence (Summer 1996). "Irving Berlin: This Is the Army". Prologue. 28 (2). Part 3. Retrieved August 22, 2012.
160. "This Is the Army (1943) – Notes". Turner Classic Movies. Retrieved July 9, 2011.
161. Finler 2003, pp. 356–363
162. Block & Wilson 2010, p. 420. "(Unadjusted $s) in Millions of $s – Production Cost: $1.0"
163. Block & Wilson 2010, p. 232.
     • Mrs. Miniver: "Domestic Rentals: $5,358,000; Foreign Rentals: $3,520,000 (Unadjusted $s)"
     • Meet Me in St. Louis: "Domestic Rentals: $5,016,000; Foreign Rentals: $1,623,630 (Unadjusted $s)"
     • Easter Parade: "Domestic Rentals: $4,144,000; Foreign Rentals: $1,774,134 (Unadjusted $s)"
164. Schaefer, Eric (1999). "Bold! Daring! Shocking! True!": A History of Exploitation Films, 1919–1959. Duke University Press. pp. 197–199. ISBN 978-0-8223-2374-7. Leading the pack of postwar sex hygiene films was Mom and Dad (1944), which would become not only the most successful sex hygiene film in history but the biggest pre-1960 exploitation film of any kind. At the end of 1947, the Los Angeles Times reported that Mom and Dad had grossed $2 million. By 1949 Time had estimated that Mom and Dad had taken in $8 million from twenty million moviegoers. And publicity issuing from Mom and Dad's production company indicated that by the end of 1956 it had grossed over $80 million worldwide. Net rentals of around $22 million by 1956 would easily place it in the top ten films of the late 1940s and early 1950s had it appeared on conventional lists. Some estimates have placed its total gross over the years at up to $100 million, and it was still playing drive-in dates into 1975...The film was made for around $65,000 with a crew of Hollywood veterans including director William "One Shot" Beaudine, cinematographer Marcel LePicard, and a cast that sported old stalwarts Hardie Albright, Francis Ford, and John Hamilton.
165. Block & Wilson 2010
     • p. 296. "Production Cost: $1.6 (Unadjusted $s in Millions of $s)"
     • Wasson, Sam (2010), The Bells of St. Mary's, p. 297, This was that rare sequel that did even better at the box office than the original, bringing in a $3.7 million profit on $11.2 million in worldwide rentals.
166. "Song of the South". The Numbers. Nash Information Services. LLC. Retrieved July 10, 2011.
167. Gabler, Neal (2007). Walt Disney: the biography. Aurum Press. pp. 438. Still, the film wound up grossing $3.3 million...
168. "Song of the South (1946) – Notes". Turner Classic Movies. Retrieved July 25, 2012.
169. Hall & Neale 2010
     • p. 132."Best Years was considerably cheaper, costing only $2.1 million, and therefore vastly more profitable."
     • p. 286 (note 6.70). "Worldwide rentals for The Best Years of Our Lives amounted to $14,750,000."
170. Burns, Douglas (2010), The Best years of Our Lives, p. 301, The film made a $5 million profit on worldwide rentals of $14.8 million. In: Block & Wilson 2010.
171. Hall & Neale 2010, p. 285 (note 6.56). "The cost of Duel in the Sun has been reported as both $5,255,000 (Haver, David O'Selznick's Hollywood, 361) and $6,480,000 (Thomson, Showman: The Life of David O'Selznick, 472); the latter figure may include distribution expenses. Forever Amber cost $6,375,000 (Solomon, Twentieth Century-Fox: A Corporate and Financial History, 243)."
172. Chopra-Gant, Mike (2006). Hollywood Genres and Post-war America: Masculinity, Family and Nation in Popular Movies and Film Noir. I.B. Tauris. p. 18. ISBN 978-1-85043-815-1. Forever Amber: $8 million; Unconquered: $7.5 million; Life with Father: $6.25 million
173. "Unconquered (1947) – Notes". Turner Classic Movies. Retrieved January 10, 2012.
174. Miller, Frank. "Easter Parade (1948) – Articles". Turner Classic Movies. Retrieved July 19, 2012.
175. Street, Sarah (2002). Transatlantic Crossings: British Feature Films in the United States. Continuum International Publishing Group. p. 110. ISBN 978-0-8264-1395-6. Although both films had higher than average budgets (The Red Shoes cost £505,581 and Hamlet cost £572,530, while the average cost of the other thirty films for which Rank supplied information was £233,000), they resulted in high takings at home and abroad.
176. Officer, Lawrence H. (2011). "Dollar-Pound Exchange Rate From 1791". MeasuringWorth. Retrieved November 18, 2012. 1947–1948: $4.03 (per British pound)
177. "The Snake Pit". The Numbers. Nash Information Services. LLC. Archived from the original on December 28, 2011.
178. "'Snake Pit' Seen No Problem After All". Variety. January 19, 1949. p. 7.
179. Hall & Neale 2010, p. 136–139
     • Samson and Delilah: "...the film became the highest grosser in the studio's history to date, with domestic rentals of $7,976,730 by 1955 and a further $6,232,520 overseas...For all their spectacle, Samson and David were quite economically produced, costing $3,097,563 and $2,170,000 respectively."
     • Quo Vadis: "Production costs totaled a record $7,623,000...Worldwide rentals totaled $21,037,000, almost half of which came from the foreign market."
180. "Cinderella (1950)". The Numbers. Nash Information Services. Retrieved January 2, 2017.
181. Eisner, Michael D.; Schwartz, Tony (2009). Work in Progress. Pennsylvania State University. p. 178. ISBN 978-0-7868-8507-7. Cinderella revived its fortunes. Re-released in February 1950, it cost nearly $3 million to make but earned more than $20 million worldwide.
182. Barrier, Michael (2003). Hollywood Cartoons: American Animation in Its Golden Age. Oxford University Press. p. 401. ISBN 978-0-19-516729-0. It cost around $2.2 million, little more than each of the two package features, Melody Time and The Adventures of Ichabod and Mr. Toad (as Tluo Fabulous Characters had ultimately been named), that just preceded it, but its gross rentals—an amount shared by Disney and RKO—were $7.8 million, almost twice as much as the two package features combined.
183. The E. J. Mannix ledger. Margaret Herrick Library, Academy of Motion Picture Arts and Sciences: Howard Strickling Collection. 1962.
184. Lev, Peter (2006). Transforming the Screen, 1950–1959. Volume 7 of History of the American Cinema. University of California Press. ISBN 978-0-520-24966-0.
     • Quo Vadis: p. 15. "MGM's most expensive film of the period, Quo Vadis (1951) also did extremely well. The cost was $7,623,000, earnings were an estimated $21.2 million (with foreign earnings almost 50 percent of this total), and profit was estimated at $5,562,000."
     • Rear Window: pp. 203–204. "Rear Window (1954) was an excellent commercial success, with a cost of $1 million and North American rentals of $5.3 million."
185. Block & Wilson 2010, p. 335.
     • The Robe: "Domestic Rentals: $16.7; Foreign Rentals: $9.4; Production Cost: $4.1 (Unadjusted $s in Millions of $s)."
     • Quo Vadis: "Domestic Rentals: $11.1; Foreign Rentals: $15.6; Production Cost: $7.5 (Unadjusted $s in Millions of $s)."
186. Mulligan, Hugh A. (September 23, 1956). "Cinerama Pushing Ahead As Biggest Money-Maker". The Register-Guard. Eugene, Oregon. p. 7B.
187. Zone, Ray (2012). 3-D Revolution: The History of Modern Stereoscopic Cinema. University Press of Kentucky. p. 71. ISBN 978-0-8131-3611-0. Produced at a cost of $1 million, This is Cinerama ran 122 weeks, earning $4.7 million in its initial New York run alone and eventually grossed over $32 million. It was obvious to Hollywood that the public was ready for a new form of motion picture entertainment. The first five Cinerama feature-length travelogues, though they only played in twenty-two theaters, pulled in a combined gross of $82 million.
188. Burns, Douglas (2010), The Greatest Show on Earth, pp. 354–355, By May 1953, Variety was reporting that the Best Picture winner had amassed $18.35 million in worldwide rentals. In: Block & Wilson 2010.
189. "The Greatest Show on Earth (1952) – Notes". Turner Classic Movies. Retrieved January 8, 2012.
190. "Peter Pan (1953) – Notes". Turner Classic Movies. Retrieved July 24, 2011.
191. Hall & Neale 2010, p. 147–148. "To take full advantage of CinemaScope's panoramic possibilities, shooting was delayed for the sets to be redesigned and rebuilt, adding $500,000 to the eventual $4.1 million budget...It ultimately returned domestic rentals of $17.5 million and $25 million worldwide, placing it second only to Gone with the Wind in Variety's annually updated chart."
192. Block & Wilson 2010, p. 367. "It brought in $16.7 million in domestic rentals, $9.4 million in foreign rentals, and made a net profit of $8.1 million."
193. "Rear Window". Boxoffice. Retrieved May 29, 2016.
194. "White Christmas". Boxoffice. Retrieved May 29, 2016.
195. Block & Wilson 2010, p. 420. "Domestic Box Office: $19.6 million; Production Cost: $3.8 million."
196. Hall & Neale 2010, p. 149. "VistaVision was first used for the musical White Christmas (1954), which Variety named the top grosser of its year with anticipated domestic rentals of $12 million."
197. "20000 Leagues Under The Sea". Boxoffice. Retrieved May 29, 2016.
198. Miller, John M. "20,000 Leagues Under the Sea (1954) – Articles". Turner Classic Movies. Retrieved January 9, 2012.
199. Finler 2003, p. 320. "It was up and running in time to handle Disney's most elaborate expensive feature, 20,000 Leagues Under the Sea, based on the book by Jules Verne, starring James Mason and Kirk Douglas and directed by Richard Fleischer at a cost of $4.5 million."
200. D'Alessandro, Anthony (October 27, 2003). "Disney Animated Features at the Worldwide Box Office". Variety. The Jungle Book $378 million; Lady and the Tramp $187 million
201. "Lady and the Tramp (1955) – Notes". Turner Classic Movies. Retrieved July 27, 2011.
202. Minego, Pete (May 21, 1956). "Pete's Pungent Patter". Portsmouth Daily Times. Portsmouth, Ohio. p. 19.
203. "Cinerama Holiday (1955) – Notes". Turner Classic Movies. Retrieved July 7, 2012.
204. Block & Wilson 2010
     • p. 382. "Production Cost: $2.4 (Unadjusted $s in Millions of $s)"
     • Burns, Douglas (2010), Mister Roberts, p. 383, Mister Roberts sailed onto movie screens buoyed by enthusiastic reviews and receptive audiences. For pr, Fonda, Cagney, and lemmon reenacted several scenes on ed sullivan's popular Toast of the Town television variety show. It returned a net profit of $4.5 million on worldwide rentals of $9.9 million, putting it in the top 5 domestic films of 1955.
205. Block & Wilson 2010, p. 327. "Production cost: $13.3 million; Domestic Film Rental: $31.3; Foreign Film Rental: $23.9; Worldwide Box office (estimated): $122.7 (Initial Release – Unadjusted $s in Millions of $s)."
206. Hall & Neale 2010, pp. 159–161
     • The Ten Commandments: "No film did more to entrench roadshow policy than The Ten Commandments. While the success of This Is Cinerama, The Robe, and even Eighty Days could be attributed, at least in part, to their respective photographic and projection formats, that of DeMille's film (which cost a record $13,266,491) could not...General release began at normal prices in 1959 and continued until the end of the following year, when the film was temporarily withdrawn (the first of several reissues came in 1966). The worldwide rental by this time was around $60 million. In the domestic market it dislodged Gone with the Wind from the number one position on Variety's list of All-Time Rentals Champs. GWTW had hitherto maintained its lead through several reissues (and was soon to regain it through another in 1961)."
     • The Bridge on the River Kwai: Columbia's Anglo-American war film The Bridge on the River Kwai (1957) opened on a roadshow basis in selected U.S. cities (including New York, Chicago, Boston, and Los Angeles) and in London. Costing only $2,840,000 to produce, it grossed $30.6 million worldwide on first release."
207. Hall & Neale 2010, p. 153. "South Pacific also became for a time the most successful film ever released in the United Kingdom, where it earned a box-office gross three times its negative cost of $5,610,000. Anticipated global rentals after three years were $30 million."
208. Ross, Steven J. (2011). Hollywood Left and Right: How Movie Stars Shaped American Politics. Oxford University Press. pp. 278–279. ISBN 978-0-19-991143-1. Costing $15 million to produce, the film earned $47 million by the end of 1961 and $90 million worldwide by January 1989.
209. Block & Wilson 2010, p. 324. "Worldwide box office: $146.9 million; Worldwide rentals: $66.1 million; Production cost: $15.9 million. (Initial Release – Unadjusted $s in Millions of $s)"
210. Reid, John Howard (2006). America's Best, Britain's Finest: A Survey of Mixed Movies. Volume 14 of Hollywood classics. Lulu. p. 243–245. ISBN 978-1-4116-7877-4. Negative cost: around $4 million; Worldwide film rentals gross (including 1968 American reissue) to 1970: $30 million.
211. Webster, Patrick (2010). Love and Death in Kubrick: A Critical Study of the Films from Lolita Through Eyes Wide Shut. McFarland & Company. pp. 298 (note 2.23). ISBN 978-0-7864-5916-2. Spartacus cost $12 million and grossed some $60 million at the box office, figures Kubrick rarely again matched.
212. Hall & Neale 2010, p. 179.
     • Spartacus: "In the case of Spartacus, overseas earnings to 1969 amounted to $12,462,044, while U.S. and Canadian rentals (even including a million-dollar TV sale) were only $10,643,181. But the film failed to show a profit on production costs of $10,284,014 because of the distribution charges and expenses amounting to an additional $15,308,083."
     • The Bible: "The Bible—In the Beginning... (1966) was financed by the Italian producer Dino De Laurentiis from private investors and Swiss banks. He then sold distribution rights outside Italy jointly to Fox and Seven Arts for $15 million (70 percent of which came from Fox), thereby recouping the bulk of his $18 million investment. Although The Bible returned a respectable world rental of $25.3 million, Fox was still left with a net loss of just over $1.5 million. It was the last biblical epic to be released by any major Hollywood studio for nearly twenty years."
213. Nixon, Rob. "Psycho (1960) – Articles". Turner Classic Movies. Retrieved January 9, 2012.
214. "101 Dalmatians (1961)". Boxoffice. Retrieved May 29, 2016.
215. "One Hundred and One Dalmatians". Variety. December 31, 1960. Retrieved August 23, 2011.
216. Block, Hayley Taylor (2010), West Side Story, p. 449, With its three rereleases, it took in over $105 million in worldwide box office ($720 million in 2005 dollars). In: Block & Wilson 2010.
217. Block & Wilson 2010, p. 434.
     • The Sound of Music: "Domestic Rentals: $68.4; Foreign Rentals: $46.2; Production Cost: $8.0 (Initial Release – Unadjusted $s in Millions of $s)."
     • The Dirty Dozen: "Domestic Rentals: $20.1; Foreign Rentals: $11.2; Production Cost: $5.4 (Initial Release – Unadjusted $s in Millions of $s)."
     • 2001: A Space Odyssey: "Domestic Rentals: $16.4; Foreign Rentals: $5.5; Production Cost: $10.3 (Initial Release – Unadjusted $s in Millions of $s)."
     • Cleopatra: "Domestic Rentals: $22.1; Foreign Rentals: $18.2; Production Cost: $44.0 (Initial Release – Unadjusted $s in Millions of $s)."
     • West Side Story: "Domestic Rentals: $16.2; Foreign Rentals: $15.6; Production Cost: $7.0 (Initial Release – Unadjusted $s in Millions of $s)."
     • The Longest Day: "Domestic Rentals: $13.9; Foreign Rentals: $19.3; Production Cost: $8.6 (Initial Release – Unadjusted $s in Millions of $s)."
     • Butch Cassidy and the Sundance Kid: "Domestic Rentals: $29.2; Foreign Rentals: $7.9; Production Cost: $6.6 (Initial Release – Unadjusted $s in Millions of $s)."
218. Lawrence of Arabia
     • 1962 release: "Lawrence of Arabia". The Numbers. Nash Information Services. LLC. Retrieved August 15, 2011. Worldwide Box Office: $69,995,385; International Box Office: $32,500,000
     • U.S. total (including reissues): "Lawrence of Arabia". Boxoffice. Retrieved May 29, 2016. $44,824,852
219. Hall & Neale 2010, p. 165–166
     • Lawrence of Arabia: Columbia released the $13.8 million Lawrence of Arabia (1962), filmed in Super Panavision 70, exclusively on a hard-ticket basis, but opened Barabbas (1962), The Cardinal (1963), and the $12 million Joseph Conrad adaptation Lord Jim (1965) as 70mm roadshows in selected territories only."
     • The Longest Day: "Darryl's most ambitious independent production was The Longest Day (1962), a three-hour reconstruction of D-Day filmed in black-and-white CinemaScope at a cost of $8 million. It grossed over $30 million worldwide as a roadshow followed by general release, thereby helping the studio regain stability during its period of reorganization."
     • Cleopatra: "With top tickets set at an all-time high of $5.50,Cleopatra had amassed as much as $20 million in such guarantees from exhibitors even before its premiere. Fox claimed the film had cost in total $44 million, of which $31,115,000 represented the direct negative cost and the rest distribution, print and advertising expenses. (These figures excluded the more than $5 million spent on the production's abortive British shoot in 1960–61, prior to its relocation to Italy.) By 1966 worldwide rentals had reached $38,042,000 including $23.5 million from the United States."
220. Hall & Neale 2010, p. 164. "West cost $14,483,000; although it earned $35 million worldwide in just under three years, with ultimate domestic rentals totaling $20,932,883, high distribution costs severely limited its profitability."
221. Block & Wilson 2010, pp. 428–429
     • From Russia With Love: "Worldwide Box Office: 78.9; Production Cost: 2.0 (in millions of $s)"
     • Goldfinger: "Worldwide Box Office: 124.9; Production Cost: 3.0 (in millions of $s)"
     • Diamonds Are Forever: "Worldwide Box Office: 116; Production Cost: 7.2 (in millions of $s)"
     • Moonraker: "Worldwide Box Office: 210.3; Production Cost: 34.0 (in millions of $s)"
222. Chapman, James (2007). Licence to thrill: a cultural history of the James Bond films. I.B. Tauris. ISBN 978-1-84511-515-9.
     • From Russia With Love: "The American release of From Russia With Love again followed on some six months after it had been shown in Britain. North American rentals of $9.9 million were an improvement on its predecessor, helped by a slightly wider release, though they were still only half the $19.5 million of foreign rentals... (Online copy at Google Books)"
     • Diamonds Are Forever: "Diamonds Are Forever marked a return to the box-office heights of the Bond films of the mid-1960s. Its worldwide rentals were $45.7 million..."
     • Moonraker: "These figures were surpassed by Moonraker, which earned total worldwide rentals of $87.7 million, of which $33 million came from North America. (Online copy at Google Books)"
223. Balio, Tino (2009). United Artists, Volume 2, 1951–1978: the Company that Changed the Film Industry. University of Wisconsin Press. p. 261. ISBN 978-0-299-23014-2.
     • From Russia With Love: "The picture grossed twice as much as Dr. No, both domestic and foreign—$12.5 million worldwide (Online copy at Google Books)"
     • Goldfinger: "Produced on a budget of around $3 million, Goldfinger grossed a phenomenal $46 million worldwide the first time around. (Online copy at Google Books)"
224. Hall & Neale 2010, p. 184
     • My Fair Lady: "My Fair Lady (1964) cost Warners $17 million to make, including a record $5.5 million just for the film rights to the Alan Jay Lerner and Frederick Loewe stage show and a million-dollar fee for star Audrey Hepburn. By 1967 it was reported to have grossed $55 million from roadshowing worldwide."
     • Mary Poppins: "Mary Poppins (1964), which cost $5.2 million, was neither a stage adaptation nor a roadshow. But by the end of its first release, it had grossed nearly $50 million worldwide."
225. Burns, Douglas (2010), Mary Poppins, p. 469, In its initial run, Poppins garnered an astounding $44 million in worldwide rentals and became the company's first Best Picture Oscar contender. In: Block & Wilson 2010.
226. "The Sound of Music". Boxoffice. Retrieved May 29, 2016.
227. "Hawaii". The Numbers. Nash Information Services. LLC. Retrieved August 18, 2011.
228. "Who's Afraid of Virginia Woolf?". Boxoffice. Retrieved May 29, 2016.
229. Hall & Neale 2010, p. 188. "The negative cost of Warners' adaptation of Edward Albee's play Who's Afraid of Virginia Woolf? (1966)—filmed in widescreen and black-and-white, largely set in domestic interiors and with a cast of only four principal actors—amounted to $7,613,000, in part because stars Elizabeth Taylor and Richard Burton received up-front fees of $1 million and $750,000 respectively, against 10 percent of the gross apiece. (Their participation was presumably added to the budget)."
230. "Animals Portray Parts in Disney's "Robin Hood"". Toledo Blade. October 18, 1970. Sec. G, p. 7. "The Jungle Book," in it's [sic] initial world-wide release, has grossed $23.8 million to date...
231. "The Jungle Book". Variety. December 31, 1966. Retrieved March 14, 2018. It was filmed at a declared cost of $4 million over a 42-month period.
232. Denisoff, R. Serge; Romanowski, William D. (1991). Risky Business: Rock in Film. Transaction Publishers. ISBN 978-0-88738-843-9.
     • The Graduate: p. 167. "World net rental was estimated at more than $85 million by January 1971."
     • Grease: p. 236. "The film was produced for $6 million and Paramount reportedly spent another $3 million on promotion."
233. Hall & Neale 2010, p. 191–192
     • The Graduate: "The Graduate eventually earned U.S. rentals of $44,090,729 on a production cost of $3.1 million to become the most lucrative non-roadshow picture (and independent release) to date."
     • Butch Cassidy and the Sundance Kid: "None of these films was roadshown in the United States; most were set in contemporary America or had a contemporary "take" on the past (the casting of genuine teenagers to play Romeo and Juliet, the urbane sophistication of the dialogue in Butch Cassidy, the antiauthoritarianism of Bonnie and Clyde and MASH); most were produced on modest or medium-sized budgets (as low as $450,000 for Easy Rider and no higher than $6,825,000 for Butch Cassidy); and all grossed upward of $10 million domestically."
234. 2001: A Space Odyssey
     • Total: Miller, Frank. "2001: A Space Odyssey (1968) – Articles". Turner Classic Movies. Retrieved August 24, 2011. 2001: A Space Odyssey made $15 million on its initial U.S. release, and currently shows a worldwide gross of over $190 million.
     • As of 2006: Palmer, R. Barton (2006). "2001: The Critical Reception and the Generation Gap". In Kolker, Robert Phillip. Stanley Kubrick's 2001: a Space Odyssey: New Essays. Oxford University Press. p. 16. ISBN 978-0-19-517452-6. With its initial and subsequent releases, domestic and worldwide, Kubrick's arty, intellectual film earned nearly $138 million, which was, at that time, an astounding figure.
     • 2013 re-release: "2001: A Space Odyssey (2013 re-release)". Box Office Mojo. Retrieved September 26, 2018. Domestic Total Gross: $214,618; United Kingdom: $568,997
     • 2014 re-release: "2001: A Space Odyssey (2014 re-release)". Box Office Mojo. Retrieved September 26, 2018. Domestic Total Gross: $135,370
     • 2018 re-release: "2001: A Space Odyssey (2018 re-release)". Box Office Mojo. Retrieved September 26, 2018. Domestic Total Gross: $1,283,820; Australia: $192,457; Greece: $27,510; Netherlands: $159,068; New Zealand: $5,046; Russia: $155,841; United Kingdom: $296,525
235. Haber, Joyces (March 27, 1969). "'Funny Girl' a Box Office Winner". Los Angeles Times. Archived from the original on March 29, 2012. Retrieved March 29, 2012. ..."Funny Girl" will gross an estimated $80 to $100 million worldwide.
236. Welles, Chris (September 7, 1970). "Behind the Silence at Columbia Pictures—No Moguls, No Minions, Just Profits". New York. 3 (36). New York Media. pp. 42–47. While Columbia, battling Ray Stark over every dollar, did Funny Girl for around $8.8 million, a million or so over budget, Fox spent nearly $24 million on Hello, Dolly!, more than twice the initial budget, and the film will thus have to gross three times as much to break even.
237. Butch Cassidy and the Sundance Kid
     • United States and Canada: "Butch Cassidy and the Sundance Kid". Boxoffice. Retrieved May 29, 2016. $102,308,525
     • Outside North America: Vanity Fair. 2008. p. 388. Butch Cassidy went on to be a huge hit—by the spring of 1970 it had taken in $46 million in North America and grossed another $50 million abroad.
238. "'Love Story' II: Ryan Redux?". New York. 9. New York Media. 1976. p. 389. Bring those handkerchiefs out of retirement. … After all, the first movie made around $80 million worldwide.
239. Block, Hayley Taylor (2010), Love Story, p. 545, The final cost came in at $2,260,000. In: Block & Wilson 2010.
240. Scott, Vernon (June 30, 1979). ""Airports" Flourish". The Bryan Times. United Press International. p. 10.
241. Block & Wilson 2010, p. 541. "Screenwriter and director George Seaton was given a then-whopping production budget of $10 million to make what would be his last big movie after a long career as an actor in radio, a screenwriter, and a director."
242. Block & Wilson 2010, p. 549. "Fiddler had the highest domestic box office of 1971 (it was second in worldwide box office after Diamonds Are Forever), with more than $100 million in unadjusted worldwide box office on its initial release. The soundtrack album was also a huge seller. The 1979 rerelease was not as successful, with the $3.8 million print and ad costs almost as high as the $4.3 million in worldwide rentals."
243. Block & Wilson 2010, p. 527.
     • Star Wars: "Domestic Rentals: $127.0; Foreign Rentals: $141.5; Production Cost: $13.0 (Initial Release – Unadjusted $s in Millions of $s)."
     • The Godfather: "Domestic Rentals: $85.6; Foreign Rentals: $42.0; Production Cost: $7.2 (Initial Release – Unadjusted $s in Millions of $s)."
     • Fiddler on the Roof: "Domestic Rentals: $34.0; Foreign Rentals: $11.1; Production Cost: $9.0 (Initial Release – Unadjusted $s in Millions of $s)."
     • Rocky: "Domestic Rentals: $56.0; Foreign Rentals: $21.1; Production Cost: $1.6 (Initial Release – Unadjusted $s in Millions of $s)."
244. The Godfather
     • 1974: Newsweek. 84. 1974. p. 74. The original Godfather has grossed a mind-boggling $285 million...
     • 1991: Von Gunden, Kenneth (1991). Postmodern auteurs: Coppola, Lucas, De Palma, Spielberg, and Scorsese. McFarland & Company. p. 36. ISBN 978-0-89950-618-0. Since The Godfather had earned over $85 million in U.S. -Canada rentals (the worldwide box-office gross was $285 million), a sequel, according to the usual formula, could be expected to earn approximately two-thirds of the original's box-office take (ultimately Godfather II had rentals of $30 million).
     • 1997 re-release: "The Godfather (Re-issue)". Boxoffice. Retrieved May 29, 2016. North America: $1,267,249
     • As of 2010: Block & Wilson 2010, p. 246. "Domestic Box Office: $135.0; Foreign Box Office: $110.1 (Unadjusted $s in Millions of $s)."
     • Total: "The Godfather". Boxoffice. Retrieved May 29, 2016. Worldwide Gross: $245,066,044
245. Jacobs, Diane (1980). Hollywood Renaissance. Dell Publishing. p. 115. ISBN 978-0-440-53382-5. The Godfather catapulted Coppola to overnight celebrity, earning three Academy Awards and a then record-breaking $142 million in worldwide sales.
246. "The Godfather (1972) – Notes". Turner Classic Movies. Retrieved January 9, 2012.
247. "The Exorcist". Boxoffice. Retrieved May 29, 2016.
248. Stanley, Robert Henry; Steinberg, Charles Side (1976). The media environment: mass communications in American society. Hastings House. p. 76. ISBN 978-0-8038-4681-4. ...further reflected by the phenomenal successes of The Sting, Chinatown and The Exorcist. The latter film, which cost about $10 million to produce, has grossed over $110 million worldwide.
249. New York, 8, New York Media, 1975, ...Jaws should outstrip another MCA hit, The Sting, which had world-wide revenues of $115 million. (Online copy at Google Books)
250. Block & Wilson 2010, p. 560. "Production Cost: $5.5 (Unadjusted $s in Millions of $s)."
251. Hall & Neale 2010, pp. 206–208. "The most successful entry in the disaster cycle was the $15 million The Towering Inferno which earned over $48,650,000 in domestic rentals and about $40 million foreign."
252. Klady, Leonard (1998). "All-Time Top Film Rentals". Variety. Archived from the original on October 7, 1999. Domestic rentals: $48,838,000
253. The Hollywood Reporter. January 27, 1976. "Foreign rentals: $43 million"
254. Block & Wilson 2010, p. 568. "Production Cost: $14.3 (Unadjusted $s in Millions of $s)."
255. Brooks, Mel (2004). "My Movies: The Collisions of Art and Money". In Squire, Jason E. The movie business book (3 ed.). Simon & Schuster. ISBN 978-0-7432-1937-2. To their credit, Blazing saddles, opened wide in June to tremendous business around the country. It's done over $80 million in rentals worldwide in 1974 dollars. (Online copy at Google Books)
256. Block & Wilson 2010, p. 564. "Production Cost: $2.6 (Unadjusted $s in Millions of $s)."
257. "Jaws". Boxoffice. Retrieved May 29, 2016.
259. Priggé, Steven (2004). Movie Moguls Speak: Interviews With Top Film Producers. McFarland & Company. p. 8. ISBN 978-0-7864-1929-6. The budget for the first Jaws was $4 million and the picture wound up costing $9 million.
260. Hall & Neale 2010, p. 214. "Rocky was the "sleeper of the decade". Produced by UA and costing just under $1 million, it went on to earn a box-office gross of $117,235,247 in the United States and $225 million worldwide."
261. Block, Alex Ben (2010), Rocky, p. 583, The budget was $1,075,000 plus producer's fees of $100,000. In: Block & Wilson 2010.
262. "Star Wars (1977)". Box Office Mojo. Retrieved January 10, 2012.
263. Wuntch, Philip (July 19, 1985). "Return of E.T.". The Dallas Morning News. Retrieved March 6, 2012. Its worldwide box-office gross was $619 million, toppling the record of $530 million set by Star Wars.
264. Hall & Neale 2010, p. 218. "Eventually costing $11,293,151, Star Wars was previewed at the Northpoint Theatre in San Francisco on May 1, 1977."
265. "Grease". Boxoffice. Retrieved May 29, 2016.
266. Hofler, Robert (2010). Party Animals: A Hollywood Tale of Sex, Drugs, and Rock 'N' Roll Starring the Fabulous Allan Carr. ReadHowYouWant.com. p. 145. ISBN 978-1-4596-0007-2. Despite the fact that Grease was well on its way to becoming the highest-grossing movie musical in the world, and eventually grossed over $341 million...
267. "Grease (40th Anniversary)". Box Office Mojo. Retrieved August 30, 2018.
268. Kramer vs. Kramer
     • United & Babson Investment Report. 72. Babson-United, Inc. 1980. p. 262. Columbia Pictures Industries is continuing to rake in the box office dollars from its Oscar-winning Kramer vs. Kramer, which has topped $100 million in domestic grosses and $70 million overseas. Kramer, which cost less than $8 million to make, is now the second...
     • Prince, Stephen (2002). A New Pot of Gold: Hollywood Under the Electronic Rainbow, 1980–1989. University of California Press. p. 7. ISBN 978-0-520-23266-2. Much of this was attributable to the performance of its hit film, Kramer vs. Kramer ($94 million worldwide and the number two film in the domestic market).
269. "Rocky II". Boxoffice. Retrieved May 29, 2016.
270. Kilday, Greg (May 22, 1992). "Rules of the Game". Entertainment Weekly (119). Retrieved July 4, 2012.
271. The Empire Strikes Back
     • Total up to 2014: "The Empire Strikes Back (1980)". Box Office Mojo. Retrieved January 10, 2012. $538,375,067
     • Special edition: "The Empire Strikes Back (Special Edition)". Box Office Mojo. Retrieved January 10, 2012. North America: $67,597,694; Overseas: $57,214,766
     • 2015 re-release: "The Empire Strikes Back". Box Office Mojo. Retrieved October 8, 2015. United Kingdom: $9,593,937
272. Block & Wilson 2010, p. 519.
     • The Empire Strikes Back: "Production Cost: $32.0 (Unadjusted $s in Millions of $s)."
     • Return of the Jedi: "Production Cost: $42.7 (Unadjusted $s in Millions of $s)."
     • The Phantom Menace: "Production Cost: $127.5 (Unadjusted $s in Millions of $s)."
273. Raiders of the Lost Ark
     • "Raiders of the Lost Ark (1981)". Box Office Mojo. Retrieved November 4, 2012. Total: $389,925,971; North America: $212,222,025 (original run); Overseas: $141,766,000
     • Block & Wilson 2010, p. 625. Domestic Box office: $180.1; "Production Cost: $22.8 (Initial Release – Unadjusted $s in Millions of $s)."
274. "E.T. : The Extra-Terrestrial (1982)". Box Office Mojo. Retrieved January 10, 2012.
275. Block & Wilson 2010, p. 609. "Steven Spielberg, by far the most successful director of the decade, had the highest-grossing movie with 1982's E.T. : The Extra-Terrestrial, which grossed over $664 million in worldwide box office on initial release."
276. Block & Wilson 2010, p. 652. "Production Cost: $12.2 (Unadjusted $s in Millions of $s)."
277. Return of the Jedi
     • Total: "Return of the Jedi (1983)". Box Office Mojo. Retrieved January 10, 2012. $475,106,177
     • Special edition: "Return of the Jedi (Special Edition)". Box Office Mojo. Retrieved January 10, 2012. North America: $45,470,437; Overseas: $43,790,543
278. "Indiana Jones and the Temple of Doom (1984)". Box Office Mojo. Retrieved February 12, 2013.
279. Finler 2003, pp. 190–191.
280. Block & Wilson 2010, p. 664. "Production Cost: $28.2 (Unadjusted $s in Millions of $s)."
281. Back to the Future
     • Original release: "Back to the Future (1985)". Box Office Mojo. Retrieved August 18, 2014. Worldwide: $381,109,762; Production Budget: $19 million
     • 2010 reisue: "Back to the Future (2010 re-release)". Box Office Mojo. Retrieved August 10, 2014. Foreign Total: $2,315,159
     • 2014 reisue: "Back to the Future (2014 re-issue)". Box Office Mojo. Retrieved August 31, 2014. United Kingdom: $5,628,876
282. Finler 2003, p. 268. "The studio had a record operating income of $212 million in 1982, the year of Spielberg's E.T. The Extra-Terrestrial (which had cost only slightly over $10 million) and $150 million in 1985, mainly due to another Spielberg production, the $22 million Back to the Future, which became the top box office hit of the year."
283. "Top Gun". Boxoffice. Retrieved May 29, 2016.
284. McAdams, Frank (2010), Top Gun, pp. 678–679, Production Cost: $19.0 (Millions of $s) … Despite mixed reviews, it played in the top 10 for an extended period and was a huge hit, grossing almost $345 million in worldwide box office. In: Block & Wilson 2010.
285. Fatal Attraction
     • "Fatal Attraction". Boxoffice. Retrieved May 29, 2016.
     • Scott, Vernon (June 15, 1990). "'Three Men and Baby' Sequel Adds Cazenove to Original Cast". The Daily Gazette. New York. Hollywood (UPI). p. 9 (TV Plus – The Daily Gazette Supplement). That legacy is the $167,780,960 domestic box-office and $75 million foreign gross achieved by the original...
286. "Rain Man". Boxoffice. Retrieved May 29, 2016.
287. Finler 2003, p. 244. "Rain Man: 30.0 (cost in million $s)"
288. "Indiana Jones and the Last Crusade (1989)". Box Office Mojo. Retrieved September 15, 2013.
289. Block & Wilson 2010, pp. 694–695. "Production Cost: $55.4 (Unadjusted $s in Millions of $s) … The film went on to haul in over $494 million worldwide."
290. "Ghost". Boxoffice. Retrieved May 29, 2016.
291. Terminator 2
     • Original release: "Terminator 2: Judgment Day (1991)". Box Office Mojo. Archived from the original on June 26, 2017. $519,843,345
     • 3D re-release: "Terminator 2: Judgment Day (1991)". Box Office Mojo. Retrieved September 20, 2017.
292. Ansen, David (8 July 1991). "Conan The Humanitarian". Newsweek. Retrieved September 19, 2013.
293. "Aladdin". Boxoffice. Retrieved May 29, 2016.
294. The Lion King
     • Total: "The Lion King (1994)". Box Office Mojo. Retrieved May 29, 2016. Worldwide: $968,483,777; Production Budget: $45 million
     • Lifetime grosses (US & Canada): "The Lion King (1994) – Release Summary". Box Office Mojo. Retrieved May 29, 2016. Initial: $312,855,561; IMAX: $15,686,215; 3D: $94,242,001
     • Lifetime grosses (outside U.S. & Canada): Brevert, Brad (May 29, 2016). "'X-Men' & 'Alice' Lead Soft Memorial Day Weekend; Disney Tops $4 Billion Worldwide". Box Office Mojo. Retrieved May 29, 2016. ...the original release of The Lion King made $450.6 million internationally, an additional $3.8 million with the 2002 IMAX reissue, and another $91.3 million from 2011's 3D reissue for an international total of $545.7 million.
     • As of 2010: Block & Wilson 2010, p. 764. "Production Cost: $79.3 (Unadjusted $s in Millions of $s)."
295. Toy Story
     • Total: "Toy Story (1995)". Box Office Mojo. Retrieved November 16, 2014. Worldwide: $373,554,033
     • 3D release: "Toy Story in 3D (2009)". Box Office Mojo. Retrieved November 16, 2014. Foreign Total: $8,680,257
296. Block & Wilson 2010, pp. 776. "Production Cost: $30.0 (Unadjusted $s in Millions of $s)"
297. "Die Hard: With A Vengeance". Boxoffice. Retrieved May 29, 2016.
298. Finler 2003, p. 123.
299. "Independence Day (1996)". Box Office Mojo. Retrieved September 13, 2009.
300. "Armageddon". Boxoffice. Retrieved May 29, 2016.
301. Block & Wilson 2010, p. 509. "Production Cost: $140.0 (Unadjusted $s in Millions of $s)."
302. "Mission: Impossible II". Box Office Mojo. Retrieved January 6, 2012.
303. "The Lord of the Rings: The Two Towers". Box Office Mojo. Retrieved February 10, 2020. Worldwide: $951,208,089; Original Release: $936,689,735
304. "Shrek 2 (2002)". Box Office Mojo. Retrieved February 5, 2009.
305. Harry Potter and the Goblet of Fire
     • Total: "Harry Potter and the Goblet of Fire (2005)". Box Office Mojo. Retrieved March 1, 2019.
     • Re-release (2018): "Harry Potter and the Goblet of Fire (2018 re-release)". Box Office Mojo. Retrieved March 1, 2019. North America: $188,716
306. "Pirates of the Caribbean: At World's End (2007)". Box Office Mojo. Retrieved June 15, 2011.
307. Patten, D. (December 3, 2009). "'Avatar's' True Cost—and Consequences". The Wrap. Archived from the original on December 5, 2009.
309. Rubin, Rebecca (April 30, 2018). "'Avengers: Infinity War' Officially Lands Biggest Box Office Opening of All Time". Variety. Archived from the original on May 2, 2018. Retrieved May 14, 2018.