Films Bring In Record $6.4 Billion During 1997
The last two weeks of the box office year, far outdistancing their counterparts in 1996, assisted in bumping revenues even higher than anticipated as 1997 had a nearly 9 percent increase over 1996’s record, breaking the $6 billion barrier for the first time.
The year was fueled by consistently strong seasonal grosses and a near-record number of blockbusters, swelling 1997’s U.S. box office to an all-time high of $6.42 billion, up from the previous year’s $5.91 billion, according to projections by The Hollywood Reporter.
In tandem with the rise in box office revenue, theater admissions reached their highest mark in 38 years as tickets sold swelled to an estimated 1.4 billion, up 5 percent from the prior year.
This marks the second consecutive year of increases in admissions, the largest number since 1959 and only the second time ticket sales have surpassed 1.3 billion since 1960.
‘Titanic’ rides on top of sales
“Titanic” sank the competition for a third consecutive week with $32.2 million in ticket sales, playing more theaters and continuing to run soldout performances.
Riding good word of mouth and facing little new competition, James Cameron’s $200 million epic had more than double the weekend ticket sales of its nearest rival, according to Exhibitor Relations Co. Inc. on Sunday.
“Titanic” now has earned $156.4 million in less than a month despite a length topping three hours that limits the number of screenings. More theaters were being added.
“Tomorrow Never Dies,” the latest James Bond film, was second with $14.1 million.
By comparison, “Titanic” made $12.7 million on Saturday alone for its best single day since its release, said Wayne Lewellen, president of distribution for Paramount studios.
“We’re up to almost 1.4 million seats (and) we still find ourselves selling out shows,” Lewellen said.
The romantic comedy “As Good As It Gets,” starring Jack Nicholson and Helen Hunt, was in third place with $12.3 million.
Kevin Costner’s “The Postman,” a nearly three-hour epic, faced oblivion in the nation’s theaters. The $80 million film about a future America devastated by war made $3.7 million in its second week to drop off the top 10 list.
No new films got a wide viewing, but several had good debuts in limited release.
“The Boxer,” with Daniel Day-Lewis as an Irishman caught in the middle of the Catholic-Protestant wars, earned $93,504 at three theaters. The movie actually opened Wednesday, earning a total of $137,322.
“Oscar and Lucinda,” a period piece starring Ralph Fiennes and Cate Blanchett as a couple united by gambling and a dare to build an all-glass church, grossed $82,000 on seven screens.
‘L.A. Confidential’ honored
“L.A. Confidential,” Curtis Hanson’s atmospheric film about diabolical cops in the City of Angels, was voted best film by the National Society of Film Critics at its 32nd annual meeting in New York Sunday.
Hanson also was named best director, and his screenplay - co-written by Brian Helgeland and based on the novel by James Ellroy - took the writing honors.
Having also won the Los Angeles Film Critics Association and New York Film Critics Circle awards, “L.A. Confidential” has taken the critics’ trifecta.
Why should we care? Because the winners of critics’ associations awards tend to be Oscar nominees and winners.
Robert Duvall took the National Society prize for best actor in the film “The Apostle.” Julie Christie was named best actress for her work in “Afterglow.”
For their performances as a pornographer and a porn queen in “Boogie Nights,” Burt Reynolds and Julianne Moore were awarded supporting-actor honors.
Roger Deakins’ cinematography for “Kundun” won the photography award Sunday.
“Fast, Cheap & Out of Control,” Errol Morris’ documentary about unusual men in unusual jobs, was voted best nonfiction film.
“La Promesse” was the group’s choice for best foreign-language film.