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He’s back again — flying down the home stretch on the foreign theatrical circuit, handily claiming the No. 1 box office perch.
Harry Potter and the Deathly Hallows: Part I, the seventh installment of the most successful movie franchise in history, grossed “almost” $205 million, said distributor Warner Bros. on Monday, over five days at 19,200 screens, covering 54 countries comprising 91 markets. Opening launch was the second best on a straight dollar basis of the Harry Potter series both overseas and worldwide.
Deathly Hallows‘ launch — begun in France, Belgium and the Netherlands on Wednesday — propelled the next-to-last Harry Potter title to a $29.4 million tally in the U.K. from 1,852 screens, which Warners characterizes as the “biggest three-day opening ever” for the market with Saturday’s box office action “the biggest single day ever.”
Based on the J.K. Rowling novel, directed by David Yates and starring Daniel Radcliffe, the penultimate Harry Potter registered $22.6 million in Germany at 1,450 sites while the Japan bow provided $14 million from 885 screens.
Humongous weekends were also racked up in Russia ($12.9 million from 1,133 screens, the biggest market opening of the franchise), Italy ($11 million from 935 sites), Mexico ($10.2 million from 1,833 screens) and in China ($10.6 million, said Warners, over three days at some 3,100 sites.)
No. 6 in the series, Harry Potter and the Half-Blood Prince, set a five-day international opening record in July of 2009, grossing $236 million on 15,800 screens in 54 territories. (Prince handily eclipsed the previous franchise record for the top international launch: the $192.9 million accumulated in five days from 44 territories by 2007’s Harry Potter and the Order of the Phoenix.)
The worldwide opening tally for Prince was $394 million, which Warner’s said at the time of the film’s release, is the biggest worldwide opening launch for any film ever. Deathly Hallows’ opening launch worldwide realized $330 million.
On Monday, Warner claimed Deathly Hallows was the biggest Harry Potter of all time. “Comparing apples to apples, the same set of territories, for the industry defined weekend for each market, Deathly Hallows far out-grossed Half Blood Prince excluding any sneaks,” said the company.
Robust boxoffice action overseas is crucial for Deathly Hallows since the previous Harry Potter titles drew far more box office offshore than in the U.S. and Canada. Of the $5.4 billion worldwide total accumulated by the first six Harry Potter films, $3.7 billion or about 70% was grossed on the foreign circuit, as per Warner Bros. data.
So far, the best of the franchise titles is Harry Potter and the Sorcerers’s Stone. The 2001 original realized global box office of $975 million of which $657 million came from abroad. There is still one more Harry Potter title to go; the eighth and final of the series is scheduled to open in 3D next summer.
Warners said the Deathly Hallows opening gross total included $4.2 million derived from 101 IMAX screens. By contrast, the Prince bow drew about $3.6 million from 62 IMAX screens.
Box office results for other titles playing overseas on the weekend paled in comparison to the Deathly Hallows action.
No. 2, for example, was Warner’s comedy Due Date starring Robert Downey Jr., which collected $9.4 million on the weekend from 3,468 screens for a foreign gross total to date of $62.2 million.
Third was Sony and other distributors’ sci-fi-action vehicle Resident Evil: Afterlife, which opened at 3,066 screens in China for $9 million, raising its total offshore gross take to $223.9 million. With China, the Constantin Film title has just about completed its foreign theatrical run.
No. 4 was 20th Century Fox’s Unstoppable, the Tony Scott vehicle for Denzel Washington which bagged $7.66 million in its second round from 4,003 screens in 41 markets. The runaway train action saga, which barely finished No. 1 in its opening weekend, has rolled up an offshore cume of $31.6 million thus far
Fifth was Summit International’s RED, the spy action caper costarring Bruce Willis, Morgan Freeman, John Malkovich and Helen Mirren, which drew $6.7 million from some 2,700 screens in 46 markets, raising its offshore gross total to date to $63.2 million. It opened No. 2 in France ($2.6 million from 385 spots).
Sony’s The Social Network opened No. 2 in Korea and Hong Kong, and grossed $5.8 million overall from 2,334 screens in 55 markets. Cume for director David Fincher‘s drama about Facebook founder Mark Zuckerberg stands at $85.4 million.
Universal’s 3D family animation title Despicable Me drew hoisted its foreign boxoffice total over a 20-week run to $279 million thanks to an estimated $5.4 million weekend from about 3,041 screens in 42 markets. Paramount’s Jackass 3D nudged its overseas total to $38.9 million after a $3.7 weekend at 1,540 locations in 21 markets.
Remaining No. 1 in France for the second straight weekend was Mars Distribution’s release of director Francois Orzon‘s Potiche (Puppet), a comedy costarring Catherine Deneuve and Gerard Depardieu, which grossed $3.59 million from 542 screens. Market cume stands at $10.3 million.
In Paris, Disney opened Tangled at just one location (the Grand Rex) with the family animation comedy about Princess Rapunzel and a handsome bandit drawing $258,000. Disney plans to open the title in seven markets including Mexico, Russia and Singapore this week.
Holding No. 3 in it fourth Spain round was Universal’s local language coproduction, Julia’s Eyes, which claimed $858,000 from 329 spots for a 24-day market cume of $7.5 million.
Paramount’s Paranormal Activity 2 claimed $2.3 million from 1,807 situations in 32 markets, raising the horror sequel’s international gross total to $79.9 million. EuroCorp. Distribution’s Little White Lies, a drama starring Marion Cotillard, pushed its France-only cume to $35.8 million thanks to a No. 3 $2.36 million fifth weekend at some 629 sites.
DreamWorks Animation/Paramount’s 3D title Megamind, which has realized nearly $110 million in the U.S. and Canada, is in its early stages of foreign playoff, grossing $2 million on the weekend at 706 spots. Foreign cume is $31.3 million with European and Latin American dates beginning next month.
Other international cumes: Fox’s Wall Street: Money Never Sleeps, $77.7 million; Sony’s Eat Pray Love, $121 million; Universal’s The Kids Are All Right, 2.8 million (Universal territories only); EuroCorp. Distribution’s The Man Who Wanted To Live His Life, $7.2 million over three rounds in France only; Fox’s Knight and Day, $185.2 million; Sony’s Easy A, $12.3 million; EuroCorp. Distribution’s Arthur 3: The War of Two Worlds, $23 million over six frames in France only; Sony’s The Other Guys, $48.4 million; Studio Canal’s The Princess of Montpensier, $4.5 million in three stanzas in France only; and Universal’s Senna, $2.2 million from Japan and Brazil only.
Also, The Weinstein Co.’s Piranha 3D, $54.5 million; Focus Features/Universal’s The American, $26 million; Universal’s Devil, $16.2 million; Paramount’s Made in Dagenham, $7.3 million in three markets; Focus Features’ Biutiful, $5.2 million.; Universal’s Scott Pilgrim vs. The World, $15.3 million; Paramount’s Ghost: In Your Arms Again, $4.9 million in Japan only; Universal’s Charlie St. Cloud, $14.6 million; andParamount’s Let Me In, $7.3 million in U.K. only.
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