Rhestr ffilmiau â'r elw mwyaf

Dyma restr o ffilmiau sydd wedi gwneud yr elw (crynswth) mwyaf.

Mae ffilmiau'n cynhyrchu incwm o sawl ffrwd refeniw, gan gynnwys arddangosfa theatrig, fideo cartref, hawliau darlledu teledu, a marchnata. Fodd bynnag, enillion swyddfa docynnau theatrig yw'r prif fetrig ar gyfer cyhoeddiadau masnach wrth asesu llwyddiant ffilm, yn bennaf oherwydd argaeledd y data o'i gymharu â ffigurau gwerthu ar gyfer fideo cartref a hawliau darlledu, ond hefyd oherwydd arfer hanesyddol. Ar y rhestr mae siartiau o enillwyr uchaf y swyddfa docynnau (wedi'u rhestru yn ôl gwerth enwol a gwir werth eu refeniw). Mae hefyd siart o ffilmiau â chrynswth mwyaf yn ôl blwyddyn galendr, llinell amser sy'n dangos trawsnewidiad y record ffilm â'r cyfanswm mwyaf, a siart o'r masnachfreintiau a'r cyfresi ffilm â'r crynswth mwyaf. Mae'r holl siartiau'n cael eu rhestru yn ôl perfformiad swyddfa docynnau theatraidd ryngwladol lle bo modd, heb gynnwys incwm sy'n deillio o fideo cartref, hawliau darlledu, a nwyddau.

Yn draddodiadol, ffilmiau rhyfel, sioeau cerdd, a dramâu hanesyddol fu'r genres mwyaf poblogaidd, ond mae ffilmiau masnachfraint wedi bod ymhlith perfformwyr gorau'r 21ain ganrif. Mae diddordeb mawr yn y genre archarwyr, gyda deg ffilm yn y Bydysawd Sinematig Marvel yn ymddangos ymhlith yr enillwyr enwol. Y ffilm archarwr fwyaf llwyddiannus, Avengers: Endgame, hefyd yw'r ail ffilm â'r cynnydd mwyaf ar y "siart enillion enwol", ac mae pedair ffilm i gyd yn seiliedig ar y llyfrau comig Avengers sy'n rhestru yn yr ugain uchaf. Mae addasiadau Marvel Comics eraill hefyd wedi cael llwyddiant gyda'r eiddo Spider-Man ac X-Men, tra bod ffilmiau sy'n seiliedig ar Batman a Superman o DC Comics wedi perfformio'n dda ar y cyfan. Cynrychiolir Star Wars hefyd yn y "siart enillion enwol" gyda phum ffilm, tra bod masnachfreintiau Harry Potter, Jurassic Park a Pirates of the Caribbean yn cael lle amlwg. Er bod y "siart enillion enwol" yn cael ei ddominyddu gan ffilmiau wedi'u haddasu o briodweddau a dilyniannau sy'n bodoli eisoes, Avatar sydd ar y brig, sef ffilm wreiddiol. Mae ffilmiau teulu animeiddiedig wedi perfformio'n gyson o dda, gyda ffilmiau Disney yn mwynhau ail-rhyddhau proffidiol cyn yr oes fideo cartref. Mwynhaodd Disney lwyddiant diweddarach hefyd gyda ffilmiau fel Frozen I a II, Zootopia, a The Lion King ( gyda'i ail-wneud wedi'i animeiddio â chyfrifiadur fel y ffilm animeiddiedig â'r cynnydd mwyaf), yn ogystal â'i frand Pixar, y mae Incredibles 2 ohono, Toy Story 3 a 4, a Finding Dory fu'r perfformwyr gorau. Y tu hwnt i animeiddiadau Disney a Pixar, mae'r gyfres Despicable Me, Shrek, ac Ice Age wedi cael y llwyddiant mwyaf.

Er bod chwyddiant wedi erydu cyflawniadau'r rhan fwyaf o ffilmiau o'r 1950au, 1960au, a'r 1970au, mae masnachfreintiau sy'n tarddu o'r cyfnod hwnnw sy'n dal i fod yn weithredol. Heblaw am fasnachfreintiau Star Wars a Superman, mae ffilmiau James Bond a Godzilla yn dal i gael eu rhyddhau o bryd i'w gilydd; mae pob un o'r pedwar ymhlith y masnachfreintiau â'r cynnydd mwyaf. Mae rhai o'r ffilmiau hŷn a ddaliodd y record o ran ffilmiau â'r enillion uchaf yn dal i fod â chrynswth parchus yn ôl safonau heddiw, ond nid ydynt bellach yn cystadlu'n rhifiadol yn erbyn enillwyr heddiw mewn cyfnod o brisiau tocynnau unigol llawer uwch. Pan gaiff y prisiau hynny eu haddasu ar gyfer chwyddiant, fodd bynnag, yna Gone with the Wind —sef y ffilm â’r cynnydd mwyaf yn llwyr ers pum mlynedd ar hugain—yw’r ffilm â’r cynnydd mwyaf erioed o hyd. Mynegir yr holl grosiau ar y rhestr mewn doleri'r UD yn ôl eu gwerth enwol, ac eithrio lle nodir yn wahanol.

 Ffilmiau â'r crynswth uchaf 
alt=A portrait of a middle aged man with greying hair.|de|bawd| Ysgrifennwyd a chyfarwyddwyd Avatar, y ffilm â'r crynswth mwyaf, gan James Cameron.
Gyda chrynswth swyddfa docynnau fyd-eang o dros $2.9 biliwn, mae Avatar yn cael ei gyhoeddi fel y ffilm "crynswth uchaf", ond mae hawliadau o'r fath fel arfer yn cyfeirio at refeniw theatrig yn unig ac nid ydynt yn ystyried incwm fideo a theledu cartref, a all ffurfio cyfran sylweddol o enillion ffilm. Unwaith y bydd refeniw o adloniant cartref wedi'i gynnwys, nid yw'n glir ar unwaith pa ffilm yw'r mwyaf llwyddiannus. Enillodd Titanic $1.2 biliwn o werthiannau a rhenti fideo a DVD,  yn ychwanegol at y $2.2 biliwn wedi'i grosio mewn theatrau. Er nad oes data gwerthiant cyflawn ar gael ar gyfer Avatar, enillodd $345 miliwn o werthiant un ar bymtheg miliwn o unedau DVD a Blu-ray yng Ngogledd America, ac yn y pen draw gwerthwyd cyfanswm o ddeg ar hugain miliwn o unedau DVD a Blu-ray ledled y byd. Ar ôl cyfrif am incwm fideo cartref, mae'r ddwy ffilm wedi ennill dros $3 biliwn yr un. Bydd hawliau darlledu teledu hefyd yn ychwanegu'n sylweddol at enillion ffilm, gyda ffilm yn aml yn ennill cymaint ag 20–25% o'i swyddfa docynnau theatrig am ychydig o rediadau teledu ar ben refeniw talu-wrth- wylio; Enillodd Titanic $55 arall miliwn o hawliau darlledu NBC a HBO,sy'n cyfateb i tua 9% o'i gros Gogledd America.

Pan fo ffilm yn fasnachol iawn, gall ei refeniw ategol (e.e tegannau, sioeau gerdd) fod llawer mwy na refeniw o werthiannau y ffilm ei hun. Er enghraifft, enillodd y Lion King (1994) dros $2 biliwn mewn gwerthiannau swyddfa docynnau a fideos cartref,  ond $8 biliwn a enillwyd mewn swyddfeydd tocynnau ledled y byd gan yr addasiad llwyfan. Gall marchnata fod yn hynod broffidiol hefyd: gwerthodd y Lion King $3 biliwn o nwyddau, ond enillodd Cars werthiannau nwyddau byd-eang o dros $8 biliwn yn y pum mlynedd ar ôl ei ryddhau yn 2006.  Dim ond $462 miliwn mewn enillodd Cars drwy refeniw theatrig, mewn cymhariaeth. 

Cafodd Pixar ergyd enfawr arall gyda Toy Story 3, a gynhyrchodd bron i $10 biliwn mewn gwerthiannau manwerthu nwyddau yn ychwanegol at y $1 biliwn a enillwyd yn y swyddfa docynnau.

Ar y siart hwn, mae ffilmiau'n cael eu rhestru yn ôl y refeniw o arddangosfa theatrig yn ôl eu gwerth enwol, ynghyd â'r swyddi uchaf a gyrhaeddwyd ganddynt. Mae cyfanswm o bum ffilm wedi creu cyfanswm o fwy na $2 biliwn ledled y byd, gydag Avatar yn y safle uchaf. Mae pob un o'r ffilmiau wedi cael rhediad theatrig (gan gynnwys ail-rhyddhau) yn yr 21ain ganrif. Nid yw ffilmiau nad tu hwnt i'r cyfnod hwn yn ymddangos ar y siart oherwydd nad yw chwyddiant pris tocyn, maint y boblogaeth a thueddiadau prynu tocynnau yn cael eu hystyried.
RhifBrigTeitlCryswth Byd-EangBlwyddynCyfeiriad(au)11Avatar$2,922,917,914200921Avengers: Endgame$2,797,501,328201931Titanic$1997Titanic
 Pre-2020 releases: 
 2020 Re-release: 43Star Wars: The Force Awakens$2,068,223,624201554Avengers: Infinity War$2,048,359,754201866Spider-Man: No Way Home$1,916,306,995202173Jurassic World$1,671,537,444201587The Lion King$1,656,943,394201999Avatar: The Way of Water$1,558,195,3792022103$1,518,812,9882012114Furious 7$1,516,045,91120151211Top Gun: Maverick $1,488,732,82120221310Frozen II$1,450,026,9332019145Avengers: Age of Ultron$1,402,809,5402015159Black Panther$1,347,280,8382018163Harry Potter and the Deathly Hallows – Part 2$1,342,025,4302011Harry Potter and the Deathly Hallows – Part 2
 Total: 
 Production cost: 179Star Wars: The Last Jedi$1,332,539,88920171812Jurassic World: Fallen Kingdom$1,309,484,4612018195Frozen$2013Frozen



 Total as of August 3, 2014: $247,650,477
 Total as of August 31, 2014: $249,036,646



 Total as of August 17, 2014: $167,333



 Total as of July 27, 2014: $21,668,593
 Total as of November 2, 2014: $22,492,845



 Total as of June 8, 2014: £39,090,985
 Total as of November 30, 2014: £40,960,083 ($1 = £0.63866)
 Total as of December 7, 2014: £41,087,765 ($1 = £0.64136)
 Total as of December 14, 2014: £41,170,608 ($1 = £0.636)
 Total as of November 26, 2017: £42,840,559 ($1 = £0.7497)
 Total as of December 3, 2017: £42,976,318 ($1 = £0.742)



 Total as of March 30, 2014: €35,098,170
 Total as of October 18, 2015: €42,526,744
 nb. the exact euro to dollar conversion rate is unknown for earnings since April 2014, but the euro never fell below parity with the dollar during 2014 and 2015 (as can be verified by comparing the exchange rate on the individual date entries at the provided reference) so an approximate conversion rate of €1: $1 is used here to give a lower-bound.2010Beauty and the Beast$1,263,521,12620172115Incredibles 2$1,242,805,35920182211The Fate of The Furious$1,238,764,7652017235Iron Man 3$1,214,811,25220132410Minions$1,159,398,39720152512Captain America: Civil War$1,153,329,47320162620Aquaman$1,148,485,8862018272$1,146,457,74820032824Spider-Man: Far From Home$1,131,927,99620192923Captain Marvel$1,128,274,7942019305Transformers: Dark of the Moon$1,123,794,0792011317Skyfall$1,108,561,01320123210Transformers: Age of Extinction$1,104,054,0722014337$1,081,169,82520123431Joker$1,074,458,28220193532Star Wars: The Rise of Skywalker$1,074,144,24820193630Toy Story 4$1,073,394,5932019374Toy Story 3$1,066,969,7032010383Pirates of the Caribbean: Dead Man's Chest$1,066,179,72520063920Rogue One: A Star Wars Story$1,057,420,38720164034Aladdin$1,050,693,9532019416Pirates of the Caribbean: On Stranger Tides$1,045,713,80220114224Despicable Me 3$1,034,799,4092017431Jurassic Park$1993Jurassic Park
 Pre-2022 releases: 
 2022 re-release: 
 As of 2010: . "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."4422Finding Dory$1,028,570,8892016452Star Wars: Episode I – The Phantom Menace$1,027,044,6771999Star Wars Episode I: The Phantom Menace
 Total: 
 Original release: 465Alice in Wonderland$1,025,467,11020104724Zootopia$1,023,784,19520164814$1,017,030,6512012492Harry Potter and the Philosopher's Stone$1,006,968,1712001Harry Potter and the Philosopher's Stone
 Total: 504$1,006,234,1672008The Dark Knight
 Total: 
 Original release (excluding 2009 IMAX reissue): 
 2009 IMAX re-release: 
 First-run gross and IMAX reissue: 

 Ffilmiau â'r crynswth mwyaf ar ôl addasiad chwyddiant 
alt=A map of the world with different regions colored in correlating to inflation rates|de|bawd| Mae cyfraddau chwyddiant ledled y byd yn amrywio, gan gymhlethu addasiad chwyddiant.
Oherwydd effeithiau hirdymor chwyddiant, yn arbennig y cynnydd sylweddol mewn prisiau tocynnau theatr ffilm, mae'r rhestr heb ei haddasu ar gyfer chwyddiant yn rhoi llawer mwy o bwysau i ffilmiau diweddarach. Mae’r rhestr heb ei haddasu, er ei bod yn gyffredin yn y wasg, felly’n ddiystyr i raddau helaeth ar gyfer cymharu ffilmiau sydd wedi’u gwahanu’n eang mewn amser, gan na fydd llawer o ffilmiau o gyfnodau cynharach byth yn ymddangos ar restr fodern heb ei haddasu, er gwaethaf cyflawni llwyddiant masnachol uwch pan gânt eu haddasu ar gyfer cynnydd mewn prisiau. I wneud iawn am ostyngiad yng ngwerth yr arian cyfred, mae rhai siartiau'n gwneud addasiadau ar gyfer chwyddiant, ond nid yw hyd yn oed yr arfer hwn yn mynd i'r afael yn llawn â'r mater, gan nad yw prisiau tocynnau a chwyddiant o reidrwydd yn gyfochrog â'i gilydd. Er enghraifft, ym 1970, costiodd tocynnau $1.55 neu tua $6.68 mewn doleri 2004 a addaswyd gan chwyddiant; erbyn 1980, roedd prisiau wedi codi i tua $2.69, gostyngiad i $5.50 mewn doleri 2004 a addaswyd gan chwyddiant.  Mae prisiau tocynnau hefyd wedi codi ar wahanol gyfraddau chwyddiant ledled y byd, gan gymhlethu ymhellach y broses o addasu grosiau ledled y byd.

Cymhlethdod arall yw rhyddhau mewn fformatau lluosog y codir prisiau tocynnau gwahanol amdanynt. Un enghraifft nodedig o'r ffenomen hon yw Avatar, a ryddhawyd hefyd mewn 3D ac IMAX: roedd bron i ddwy ran o dair o'r tocynnau ar gyfer y ffilm honno ar gyfer dangosiadau 3D gyda phris cyfartalog o $10, ac roedd tua un rhan o chwech ar gyfer dangosiadau IMAX gyda chyfartaledd pris dros $14.50, o'i gymharu â phris cyfartalog 2010 o $7.61 ar gyfer ffilmiau 2D. Mae ffactorau cymdeithasol ac economaidd megis newid yn y boblogaeth a thwf marchnadoedd rhyngwladol hefyd yn cael effaith ar nifer y bobl sy'n prynu tocynnau theatr, ynghyd â demograffeg y gynulleidfa lle mae rhai ffilmiau'n gwerthu llawer uwch. cyfran y tocynnau plant am bris gostyngol, neu berfformio'n well mewn dinasoedd mawr lle mae tocynnau'n costio mwy.

Mae'r system fesur ar gyfer mesur llwyddiant ffilm yn seiliedig ar grosiau heb eu haddasu, yn bennaf oherwydd yn hanesyddol dyma'r ffordd y mae wedi'i wneud erioed oherwydd arferion y diwydiant ffilm: mae derbynebau'r swyddfa docynnau yn cael eu casglu gan theatrau a'u trosglwyddo i'r dosbarthwr, sydd yn ei dro yn eu rhyddhau i'r cyfryngau. Mae trosi i system fwy cynrychioliadol sy'n cyfrif gwerthiant tocynnau yn hytrach na gros hefyd yn llawn problemau oherwydd yr unig ddata sydd ar gael ar gyfer ffilmiau hŷn yw'r cyfansymiau gwerthiant. Gan fod y diwydiant lluniau cynnig yn canolbwyntio'n fawr ar farchnata ffilmiau a ryddhawyd ar hyn o bryd, mae ffigurau heb eu haddasu bob amser yn cael eu defnyddio mewn ymgyrchoedd marchnata fel y gall ffilmiau mawr newydd gyflawni safle gwerthiant uchel yn llawer haws, a thrwy hynny gael eu hyrwyddo fel "ffilm orau erioed",  felly nid oes llawer o gymhelliant i newid i ddadansoddiad mwy cadarn o safbwynt marchnata neu hyd yn oed sy'n werth newyddion.

Er gwaethaf yr anawsterau cynhenid wrth gyfrif am chwyddiant, gwnaed sawl ymgais. Mae amcangyfrifon yn dibynnu ar y mynegai prisiau a ddefnyddir i addasu’r grosiau, a gall y cyfraddau cyfnewid a ddefnyddir i drosi rhwng arian cyfred hefyd effeithio ar y cyfrifiadau, a gall y ddau ohonynt gael effaith ar safleoedd terfynol rhestr wedi’i haddasu ar gyfer chwyddiant. Ystyrir yn gyffredinol mai Gone with the Wind — a ryddhawyd gyntaf yn 1939—yw’r ffilm fwyaf llwyddiannus, gyda Guinness World Records yn 2014 yn amcangyfrif ei gros byd-eang wedi’i addasu ar $3.4 biliwn. Mae amcangyfrifon  gyfer gros wedi’i addasu Gone with the Wind wedi amrywio’n sylweddol: amcangyfrifodd ei berchennog, Turner Entertainment, ei enillion wedi’u haddasu ar $3.3 biliwn yn 2007, ychydig flynyddoedd ynghynt nag amcangyfrif Guinness ; mae amcangyfrifon eraill yn disgyn y naill ochr a'r llall i'r swm hwn, gydag un yn rhoi ei gros ychydig o dan $3 biliwn yn 2010, tra darparodd un arall ffigur amgen o $3.8 biliwn yn 2006. Mae pa ffilm sydd â chystadleuydd agosaf Gone with the Wind  dibynnu ar y set o ffigurau a ddefnyddiwyd: roedd gan Guinness Avatar yn ail gyda $3 biliwn, tra bod amcangyfrifon eraill yn gweld Titanic yn ail gydag enillion byd-eang rhediad cyntaf o bron i $2.9 biliwn ar brisiau 2010.

+RhifTeitlBlwyddyn1Gone with the Wind$19392Avatar$20093Titanic$2,516,000,000$19974Star Wars$19775Avengers: Endgame$20196The Sound of Music$19657E.T. the Extra-Terrestrial$19828The Ten Commandments$19569Doctor Zhivago$196510Star Wars: The Force Awakens$2015

 Ffilmiau â'r crynswth mwyaf wrth flwyddyn 
alt=A portrait of a bespectacled middle aged man.|bawd| Ffilmiau a gyfarwyddwyd gan Steven Spielberg fu’r ffilm â’r cynnydd mwyaf o’r flwyddyn chwe gwaith, ac ar dri achlysur bu’r ffilm â’r cynnydd mwyaf erioed.|196x196px
Roedd chwaeth y gynulleidfa yn weddol eclectig yn ystod yr 20fed ganrif, ond daeth nifer o dueddiadau i'r amlwg. Yn ystod y cyfnod tawel, roedd ffilmiau gyda themâu rhyfel yn boblogaidd gyda chynulleidfaoedd, gyda The Birth of a Nation ( Rhyfel Cartref America ), The Four Horsemen of the Apocalypse, The Big Parade ac Wings ( y Rhyfel Byd Cyntaf i gyd ) yn dod yn ffilmiau mwyaf llwyddiannus yn eu blynyddoedd rhyddhau priodol, gyda'r duedd yn dod i ben gyda All Quiet ar Ffrynt y Gorllewin yn 1930. Gyda dyfodiad sain ym 1927, cymerodd y sioe gerdd — y genre sydd yn y sefyllfa orau i arddangos y dechnoleg newydd — drosodd fel y math mwyaf poblogaidd o ffilm gyda chynulleidfaoedd, gyda 1928 a 1929 ill dau yn cael eu harbennu gan ffilmiau cerddorol. Parhaodd y genre i berfformio'n gryf yn y 1930au, ond ar ddechrau'r Ail Ryfel Byd gwelwyd ffilmiau ar thema rhyfel yn dominyddu eto yn ystod y cyfnod hwn, gan ddechrau gyda Gone with the Wind (Rhyfel Cartref America) yn 1939, a gorffen gyda The Best Years of Our Lives (Yr Ail Ryfel Byd) yn 1946. Gwelodd Samson a Delilah (1949) ddechrau tuedd o ddramâu hanesyddol cynyddol ddrud a osodwyd yn ystod yr Hen Rufain / cyfnod beiblaidd trwy gydol y 1950au wrth i sinema gystadlu â theledu am gynulleidfaoedd, gyda Quo Vadis, The Robe, The Ten Commandments, Ben -Hur a Spartacus i gyd yn dod yn ffilm â’r cynnydd mwyaf yn y flwyddyn yn ystod y rhyddhau cychwynnol, cyn i’r genre ddechrau pylu ar ôl sawl methiant amlwg. Roedd llwyddiant White Christmas a South Pacific yn y 1950au yn rhagfynegi dychweliad y sioe gerdd yn y 1960au gyda West Side Story, Mary Poppins, My Fair Lady, The Sound of Music a Funny Girl i gyd ymhlith ffilmiau gorau'r ddegawd. Gwelodd y 1970au newid yn chwaeth y gynulleidfa i ffilmiau cysyniad uchel, gyda chwe ffilm o'r fath wedi'u gwneud naill ai gan George Lucas neu Steven Spielberg ar frig y siart yn ystod yr 1980au. Mae'r 21ain ganrif wedi gweld dibyniaeth gynyddol ar fasnachfreintiau ac addasiadau, gyda'r goruchafiaeth swyddfa docynnau o ffilmiau'n seiliedig ar eiddo deallusol a oedd yn bodoli eisoes ar y lefelau uchaf erioed.
+Ffilmiau â'r crynswth mwyaf wrth flwyddynBlwyddynTeitlCrynswth byd-eangCyllidCyfeiriad(au)1915The Birth of a Nation–
+ ()1916Intolerance .

 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)." In: .1917Cleopatra1918Mickey1919The Miracle Man1920Way Down East () Cited in  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."1921The Four Horsemen of the Apocalypse ()–. "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."1922Douglas Fairbanks in Robin Hood1923The Covered Wagon 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)"1924The Sea Hawk1925The Big Parade– 
(). "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."Ben-Hur ()1926For Heaven's Sake 1927Wings. "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."The Jazz Singer and The Singing Fool
  In: .1928The Singing Fool1929The Broadway Melody– In: . 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."Sunny Side Up  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".. "Production Cost: $0.6 (Unadjusted $s in Millions of $s)."1930All Quiet on the Western Front 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)."Hell's Angels
 1931Frankenstein (). "It drew $1.4 million in worldwide rentals in its first run versus $1.2 million for Dracula, which had opened in February 1931."City Lights1932The Sign of the Cross 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.Shanghai Express
 . "Shanghai Express was Dietrich's biggest hit in America, bringing in $1.5 million in worldwide rentals."1933King Kong ()King Kong

 I'm No Angel+. "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..."Cavalcade–She Done Him Wrong+ In: .. "Total production cost: $274,076 (Unadjusted $s)."1934The Merry Widow 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.]It Happened One Night 1935Mutiny on the Bounty1936San Francisco+ ()1937Snow White and the Seven Dwarfs+ ()Snow White and the Seven Dwarfs



 Snow White and the Seven Dwarfs and Pinocchio


 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 Whites $4.2 million) and $1.9 million in foreign rentals (compared with Snow Whites $4.3 million)."1938You Can't Take It With You1938

 You Can't Take It With You:
 Boys Town:  In: .
 The Adventures of Robin Hood: 
 Alexander's Ragtime Band:  In: .1939Gone with the Wind– 
() –."The final negative cost of Gone with the Wind (GWTW) has been variously reported between $3.9 million and $4.25 million."1940Pinocchio ()Boom Town. "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."1941Sergeant York. "With worldwide rentals of $7.8 million in its initial release, the movie made a net profit of over $3 million.". "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."1942Bambi ()–. "Worldwide rentals of $3,449,353 barely recouped the film's nearly $2 million production cost.".

 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)"Mrs. Miniver Mrs. Miniver: 
 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."1943For Whom the Bell Tolls In: .This Is the Army1944Going My Way. "(Unadjusted $s) in Millions of $s – Production Cost: $1.0".

 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)"1945Mom and Dad/The Bells of St. Mary's p. 296. "Production Cost: $1.6 (Unadjusted $s in Millions of $s)"
 1946Song of the South ()The Best Years of Our Lives 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." In: .Duel in the Sun. "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)."1947Forever AmberUnconquered 1948Easter ParadeThe Red Shoes ()The Snake Pit1949Samson and Delilah 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."1950Cinderella(/)King Solomon's Mines1951Quo Vadis– 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.".

 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)."1952This Is CineramaThe Greatest Show on Earth  In: .1953Peter Pan ()–The Robe–. "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 Varietys annually updated chart.". "It brought in $16.7 million in domestic rentals, $9.4 million in foreign rentals, and made a net profit of $8.1 million."1954Rear Window ()White Christmas (). "Domestic Box Office: $19.6 million; Production Cost: $3.8 million.". "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."20,000 Leagues Under the Sea(–)–. "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."1955Lady and the Tramp ()Cinerama HolidayMister Roberts p. 382. "Production Cost: $2.4 (Unadjusted $s in Millions of $s)"
 1956The Ten Commandments(/). "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)." 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."1957The Bridge on the River Kwai1958South Pacific. "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."1959Ben-Hur(/). "Worldwide box office: $146.9 million; Worldwide rentals: $66.1 million; Production cost: $15.9 million. (Initial Release – Unadjusted $s in Millions of $s)"1960Swiss Family RobinsonSpartacus ().

 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."Psycho+ ()1961One Hundred and One Dalmatians–West Side Story () In: ..

 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)."1962Lawrence of Arabia ()Lawrence of Arabia
 1962 release: 
 U.S. total (including reissues):  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 70 mm 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."How the West Was Won. "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."The Longest Day1963CleopatraFrom Russia with Love/
() 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)" 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)" 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)"1964My Fair Lady 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."Goldfinger ()Mary Poppins– In: .1965The Sound of Music ()1966The Bible: In the BeginningHawaii ()Who's Afraid of Virginia Woolf? (). "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)."1967The Jungle Book ()–The Graduate 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." 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."19682001: A Space Odyssey–
()2001: A Space Odyssey
 Total: 
 As of 2006: 
 2013 re-release: 
 2014 re-release: 
 2018 re-release: Funny Girl–1969Butch Cassidy and the Sundance Kid ()Butch Cassidy and the Sundance Kid
 United States and Canada: 
 Outside North America: 1970Love Story () In: .1971The French ConnectionFiddler on the Roof 
(/). "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.".

 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)."Diamonds Are Forever ()1972The Godfather– 
(–)–The Godfather
 1974: 
 1991: 
 Releases: 1973The Exorcist ()The Sting (Online copy at Google Books). "Production Cost: $5.5 (Unadjusted $s in Millions of $s)."1974The Towering Inferno (). "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.". "Production Cost: $14.3 (Unadjusted $s in Millions of $s)."1975Jaws ()1976Rocky (). "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." In: .1977Star Wars 
(/). "Eventually costing $11,293,151, Star Wars was previewed at the Northpoint Theatre in San Francisco on May 1, 1977."1978Grease ()1979MoonrakerKramer vs. Kramer

 Rocky II1980The Empire Strikes Back ()–The Empire Strikes Back
 Total up to 2014: 
 Special edition: 
 2015 re-release: .

 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)."1981Raiders of the Lost Ark 
(–)–Raiders of the Lost Ark

 . Domestic Box office: $180.1; "Production Cost: $22.8 (Initial Release – Unadjusted $s in Millions of $s)."1982E.T. the Extra-Terrestrial 
(–)–. "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.". "Production Cost: $12.2 (Unadjusted $s in Millions of $s)."1983Return of the Jedi ()–Return of the Jedi
 Total: 
 Special edition: 1984Indiana Jones and the Temple of Doom–.. "Production Cost: $28.2 (Unadjusted $s in Millions of $s)."1985Back to the Future ()–Back to the Future
 Original release: 
 2010 reissue: 
 2014 reissue: . "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."1986Top Gun ()– In: .1987Fatal AttractionFatal Attraction

 1988Rain Man. "Rain Man: 30.0 (cost in million $s)"1989Indiana Jones and the Last Crusade––. "Production Cost: $55.4 (Unadjusted $s in Millions of $s)... The film went on to haul in over $494 million worldwide."1990Ghost ($505,702,588)1991Terminator 2: Judgment Day ($519,843,345)Terminator 2
 Original release: 
 3D re-release: 1992Aladdin1993Jurassic Park$ ($)–Jurassic Park
 Pre-2022 releases: 
 2022 re-release: 
 As of 2010: . "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."1994The Lion King ()–The Lion King
 Total: 
 Lifetime grosses (US & Canada): 
 Lifetime grosses (outside U.S. & Canada): 
 As of 2010: . "Production Cost: $79.3 (Unadjusted $s in Millions of $s)."1995Toy Story ()Toy Story
 Total: 
 3D release: . "Production Cost: $30.0 (Unadjusted $s in Millions of $s)"Die Hard with a Vengeance.1996Independence Day1997Titanic$ ($)Titanic
 Pre-2020 releases: 
 2020 Re-release: 1998Armageddon. "Production Cost: $140.0 (Unadjusted $s in Millions of $s)."1999Star Wars: Episode I – The Phantom Menace$ ($)–Star Wars Episode I: The Phantom Menace
 Total: 
 Original release: 2000Mission: Impossible 2–2001Harry Potter and the Philosopher's Stone$ ()Harry Potter and the Philosopher's Stone
 Total: 2002The Lord of the Rings: The Two Towers ()2003The Lord of the Rings: The Return of the King$ ($)2004Shrek 22005Harry Potter and the Goblet of Fire ()Harry Potter and the Goblet of Fire
 Total: 2006Pirates of the Caribbean: Dead Man's Chest$2007Pirates of the Caribbean: At World's End2008The Dark Knight$ ($)The Dark Knight
 Total: 
 Original release (excluding 2009 IMAX reissue): 
 2009 IMAX re-release: 
 First-run gross and IMAX reissue: 2009Avatar$ ($)2010Toy Story 3$2011Harry Potter and the Deathly Hallows – Part 2$ ($)Harry Potter and the Deathly Hallows – Part 2
 Total: 
 Production cost: 2012The Avengers$2013Frozen$ ($)Frozen



 Total as of August 3, 2014: $247,650,477
 Total as of August 31, 2014: $249,036,646



 Total as of August 17, 2014: $167,333



 Total as of July 27, 2014: $21,668,593
 Total as of November 2, 2014: $22,492,845



 Total as of June 8, 2014: £39,090,985
 Total as of November 30, 2014: £40,960,083 ($1 = £0.63866)
 Total as of December 7, 2014: £41,087,765 ($1 = £0.64136)
 Total as of December 14, 2014: £41,170,608 ($1 = £0.636)
 Total as of November 26, 2017: £42,840,559 ($1 = £0.7497)
 Total as of December 3, 2017: £42,976,318 ($1 = £0.742)



 Total as of March 30, 2014: €35,098,170
 Total as of October 18, 2015: €42,526,744
 nb. the exact euro to dollar conversion rate is unknown for earnings since April 2014, but the euro never fell below parity with the dollar during 2014 and 2015 (as can be verified by comparing the exchange rate on the individual date entries at the provided reference) so an approximate conversion rate of €1: $1 is used here to give a lower-bound.2014Transformers: Age of Extinction$2015Star Wars: The Force Awakens$2016Captain America: Civil War$ ($)2017Star Wars: The Last Jedi$2018Avengers: Infinity War$–2019Avengers: Endgame$2020Demon Slayer: Mugen Train$$2021Spider-Man: No Way Home$ ($)$2022Avatar: The Way of Water$–

 Llinell amser y ffilmiau â'r cynnydd mwyaf 
alt=The theatrical poster for The Birth of a Nation depicting a hooded man carrying a burning cross on horse back.|de|bawd| Arloesodd The Birth of a Nation lawer o'r technegau a ddefnyddir mewn gwneud ffilmiau heddiw, gan ddod y ffilm fwyaf llwyddiannus a wnaed erioed ar adeg ei rhyddhau.
Mae o leiaf un ar ddeg o ffilmiau wedi dal y record o ‘ffilm gyda’r gwerth mwyaf’ ers i The Birth of a Nation ddod i’r brig ym 1915. Treuliodd The Birth of a Nation a Gone with the Wind ill dau bum mlynedd ar hugain yn olynol fel y grosser uchaf, gyda ffilmiau a gyfarwyddwyd gan Steven Spielberg a James Cameron yn dal y record ar dri achlysur yr un. Daeth Spielberg y cyfarwyddwr cyntaf i dorri ei record ei hun pan oddiweddodd Jurassic Park ET, ac efelychodd Cameron y gamp pan dorrodd Avatar y record a osodwyd gan Titanic. Pan ddaeth i'r brig yn 2019, Avengers: Endgame oedd y dilyniant cyntaf i ddal y record o ennill y mwyaf o ffilmiau, ac wrth wneud hynny daeth tri deg chwech o flynyddoedd o oruchafiaeth Spielberg/Cameron i ben cyn i Avatar adennill y safle uchaf ddwy flynedd yn ddiweddarach. yn 2021 ar ôl ei ail-ryddhau.

Mae rhai ffynonellau'n honni bod The Big Parade wedi disodli The Birth of a Nation fel ffilm â'r elw mwyaf, gan gael ei disodli yn y pen draw gan Snow White and the Seven Dwarfs, a gafodd ei thrawsfeddiannu'n gyflym gan Gone with the Wind. Nid yw'r union ffigurau'n hysbys ar gyfer The Birth of a Nation, ond mae cofnodion cyfoes yn rhoi ei enillion byd-eang ar $5.2 miliwn o 1919. Gohiriwyd ei ryddhau rhyngwladol gan y Rhyfel Byd Cyntaf, ac ni chafodd ei ryddhau mewn llawer o diriogaethau tramor tan y 1920au; ynghyd ag ail-rhyddhau pellach yn yr Unol Daleithiau, ei $10 miliwn o enillion fel yr adroddwyd gan Variety yn 1932 yn gyson â'r ffigur cynharach.  Ar yr adeg hon, roedd gan Variety Genedigaeth Cenedl o flaen The Big Parade ($6,400,000) o hyd ar renti dosbarthwyr ac—os yw ei amcangyfrif yn gywir— ni fyddai Snow White and the Seven Dwarfs ($8,500,000) wedi ennill digon ar ei rhediad theatrig cyntaf i gymryd y record;. "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". er mai hwn fyddai'r 'talkie' â'r cynnydd mwyaf,. "Walt Disney took a big risk when he decided to invest $1.5 million in his first feature-length animated film, Snow White and the Seven Dwarfs. It became the biggest hit of the sound era and the largest-grossing movie since The Birth of a Nation – until the release of independent producer David O. Selznick's Gone with the Wind just two years later." gan ddisodli The Singing Fool ($5,900,000). Er bod doethineb derbyniedig yn awgrymu ei bod yn annhebygol y cafodd The Birth of a Nation ei goddiweddyd erioed gan ffilm cyfnod mud, byddai’r record yn disgyn i Ben-Hur ($9,386,000) ym 1925 pe bai The Birth of a Nation yn ennill gryn dipyn yn llai na’r hyn a amcangyfrifwyd. gros.. "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." Yn ogystal â'i enillion rhent gros trwy arddangosfa gyhoeddus, chwaraeodd The Birth of a Nation mewn nifer fawr o ymrwymiadau preifat, clwb a sefydliadol nad yw ffigurau ar gael ar eu cyfer. Roedd yn hynod boblogaidd gyda’r Ku Klux Klan a’i defnyddiodd i ysgogi recriwtio, ac ar un adeg amcangyfrifodd Variety mai cyfanswm ei enillion oedd tua $50. miliwn. Er gwaethaf tynnu’r hawliad yn ôl yn ddiweddarach, mae’r swm wedi’i adrodd yn eang er nad yw erioed wedi’i gadarnhau. Er y derbynnir yn gyffredinol bod Gone with the Wind wedi cymryd drosodd y record o ffilm â’r cynnydd mwyaf wrth ei rhyddhau am y tro cyntaf—sy’n wir o ran arddangosfa gyhoeddus—mae’n debygol na wnaeth oddiweddyd The Birth of a Nation mewn cyfanswm refeniw tan a yn ddiweddarach o lawer, gan ei fod yn dal i gael ei adrodd fel yr enillydd uchaf hyd at y 1960au. Mae’n bosibl bod Gone with the Wind ei hun wedi’i goddiweddyd am gyfnod byr gan The Ten Commandments (1956), a gaeodd ddiwedd 1960 gyda rhenti byd-eang o $58–60 miliwn. "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 Varietys 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)." o'i gymharu â Gone with the Wind  s $59 miliwn; pe bai'n hawlio'r man uchaf roedd ei ddeiliadaeth yno yn fyrhoedlog, gan i Gone with the Wind gael ei ail-ryddhau'r flwyddyn ganlynol a chynyddu ei enillion i $67 miliwn. Yn dibynnu ar ba mor gywir yw'r amcangyfrifon, efallai bod ail-wneud Ben-Hur ym 1959 hefyd wedi dal y record o Gone with the Wind : erbyn diwedd 1961 roedd wedi ennill $47 miliwn ledled y byd, ac erbyn 1963 roedd yn llusgo Gone with the Wind o ddim ond $2 miliwn gyda derbyniadau rhyngwladol o $65 miliwn, yn y pen draw yn ennill $66 miliwn o'i ryddhad cychwynnol.. "Worldwide rentals: $66.1 million (initial release)"
chwith|bawd| Dywedir bod ffilm bornograffig 1972 Deep Throat wedi ennill cymaint â $600 miliwn, ffigur a allai fod wedi'i chwyddo gan gangsters mewn cynlluniau gwyngalchu arian.
Ffilm arall yr honnir iddi fod â'r grosser uchaf yw'r ffilm bornograffig o 1972, Deep Throat. Ym 1984, tystiodd Linda Lovelace i Is-bwyllgor Barnwriaeth Senedd yr Unol Daleithiau ar gyfiawnder ieuenctid fod y ffilm wedi ennill $600 miliwn; mae'r ffigwr hwn wedi bod yn destun llawer o ddyfalu, oherwydd os yw'n gywir yna byddai'r ffilm wedi gwneud mwy o arian na Star Wars, a gorffen y 1970au fel y ffilm â'r elw mwyaf. Y brif ddadl yn erbyn y ffigur hwn yw nad oedd ganddo ryddhad digon eang i gynnal y math o symiau y byddai eu hangen er mwyn iddo grosio’r swm hwn yn y pen draw. Nid yw'r union ffigurau'n hysbys, ond dangosodd tystiolaeth mewn treial ffederal ym 1976 - tua phedair blynedd ar ôl i'r ffilm gael ei rhyddhau - fod y ffilm wedi cronni dros $25. miliwn. Mae Roger Ebert wedi rhesymu ei fod o bosibl wedi ennill cymaint â $600 miliwn ar bapur, gan fod mobsters yn berchen ar y rhan fwyaf o'r theatrau ffilm i oedolion yn ystod y cyfnod hwn ac y byddent yn gwyngalchu incwm o gyffuriau a phuteindra drwyddynt, felly mae'n debyg y byddai wedi chwyddo'r derbyniadau swyddfa docynnau ar gyfer y ffilm.

Cynyddodd Geni Cenedl, Gone with the Wind, The Godfather, Jaws, Star Wars, ET, ac Avatar eu record gros gydag ail-ryddhau. Mae'r crynswth o'u rhediadau theatrig gwreiddiol wedi'u cynnwys yma ynghyd â chyfansymiau o ail-rhyddhau hyd at y pwynt iddynt golli'r record; felly mae'r cyfanswm ar gyfer The Birth of a Nation yn cynnwys incwm o'i hailgyhoeddi hyd at 1940; mae'r cyfanswm ar gyfer Star Wars yn cynnwys refeniw o ailgyhoeddiadau diwedd y 1970au a dechrau'r 1980au ond nid o Argraffiad Arbennig 1997; mae’r cyfanswm ar gyfer ET yn ymgorffori ei grynswth o ailgyhoeddi 1985 ond nid o 2002. Mae'r cyfanswm ar gyfer ymddangosiad cyntaf Avatar ar y siart yn cynnwys refeniw o Argraffiad Arbennig 2010, sy'n cynrychioli ei holl enillion hyd at y pwynt y rhoddodd y gorau i'r record, tra bod ei ail ymddangosiad hefyd yn ymgorffori refeniw o ail-rhyddhau 2020 yn Asia. -Rhanbarth y Môr Tawel yn ogystal ag ail-ryddhau 2021 yn Tsieina a'i helpodd i adennill y record. Yn yr un modd mae Gone with the Wind yn cael ei gynrychioli ddwywaith ar y siart: mae cofnod 1940 yn cynnwys enillion o’i ryddhad cyfnodol 1939–1942 ( sioe deithiol / rhyddhau cyffredinol / ail rediad ). 
RhyddhadTeitlrecord Crynswth Cyfeiriad(au)1915The Birth of a Nation$5,200,0001940$15,000,000 1940Gone with the Wind$32,000,0001963$67,000,000 1966The Sound of Music$114,600,000.1971Gone with the Wind$116,000,000 1972The Godfather$127,600,000–142,000,000. (Online copy at Google Books)1976Jaws$193,700,0001978Star Wars$410,000,000/$268,500,0001982$530,000,000 1983E.T. the Extra-Terrestrial$619,000,000–664,000,000. "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."1993$701,000,000 1993Jurassic Park$912,667,947Jurassic Park1998Titanic$1,843,221,532Titanic2010Avatar$$ 2019Avengers: Endgame$2,797,501,3282021Avatar$2,847,397,339 2022$2,922,917,914 

 Masnachfreintiau a chyfresi ffilm â'r cynnydd mwyaf 
Cyn 2000, dim ond saith cyfres ffilm oedd wedi ennill dros $1 biliwn yn y swyddfa docynnau: James Bond, Star Wars, Indiana Jones, Rocky, Batman, Jurassic Park, a Star Trek. Ers troad y ganrif, mae’r nifer hwnnw wedi cynyddu i dros wyth deg (heb gynnwys trawiadau untro fel Titanic a Zootopia ). Mae hyn yn rhannol oherwydd chwyddiant a thwf y farchnad, ond mae hefyd oherwydd bod Hollywood wedi mabwysiadu'r model masnachfraint : ffilmiau sydd â chydnabyddiaeth brand fel eu bod yn seiliedig ar ffynhonnell lenyddol adnabyddus neu gymeriad sefydledig. Mae'r fethodoleg yn seiliedig ar y cysyniad y gall ffilmiau sy'n gysylltiedig â phethau y mae cynulleidfaoedd eisoes yn gyfarwydd â nhw gael eu marchnata'n fwy effeithiol iddynt, ac fel y cyfryw fe'u gelwir yn ffilmiau "wedi'u gwerthu ymlaen llaw" o fewn y diwydiant.

Fel arfer diffinnir rhyddfraint fel o leiaf ddau waith sy'n deillio o eiddo deallusol cyffredin. Yn draddodiadol, mae gan y gwaith berthynas tautolegol â'r eiddo, ond nid yw hyn yn rhagofyniad. Un o brif elfennau parhaol y model masnachfraint yw'r cysyniad o'r gorgyffwrdd, y gellir ei ddiffinio fel "stori lle mae cymeriadau neu gysyniadau o ddau neu fwy o destunau neu gyfresi o destunau arwahanol yn cyfarfod". Un o ganlyniadau gorgyffwrdd yw y gall eiddo deallusol gael ei ddefnyddio gan fwy nag un fasnachfraint. Er enghraifft, mae Batman v Superman: Dawn of Justice yn perthyn nid yn unig i fasnachfreintiau Batman a Superman, ond hefyd i'r Bydysawd Estynedig DC, sy'n fydysawd a rennir. Mae bydysawd a rennir yn fath arbennig o groesfan lle mae nifer o gymeriadau o ystod eang o weithiau ffuglen yn dod i ben yn rhannu byd ffuglen.

Ffilmiau Star Wars yw'r gyfres sy'n ennill y cyfanswm mwyaf yn seiliedig ar un eiddo, gan ennill dros $10 biliwn yn y swyddfa docynnau (er bod ffilmiau Eon James Bond wedi ennill dros $19 biliwn i gyd o'i addasu i brisiau cyfredol).  Os cynhwysir incwm atodol o nwyddau, yna Star Wars yw'r eiddo mwyaf proffidiol; mae'n dal record byd Guinness am y "franchise marsiandïaeth ffilm fwyaf llwyddiannus" ac roedd yn werth £19.51 biliwn yn 2012 (tua $30 biliwn). 

Cyfeiriadau

 Ffynonellau swyddfa docynnau 

 Ffynonellau masnachfraint a chyfres 



 Avengers

 Batman

 Fathom events
 Batman (UK): 
 Batman Returns (UK): 
 Batman Forever: 
 Batman and Robin: 
 Batman: The Movie (1966)  




 DC Extended Universe

 Despicable Me

 The Fast and the Furious


 The Hunger Games

 Ice Age


 J.K. Rowling's Wizarding World

 James Bond
  (Brosnan and Craig)
 . "James Bond Franchise Films: All-Release Worldwide Box Office." (Connery, Lazenby, Moore and Dalton)



 Jurassic Park


 The Lion King

 Marvel Cinematic Universe

 Middle-earth





 Mission: Impossible

 Pirates of the Caribbean

 Shrek

 Spider-Man


 Star Wars







 Disney releases (2015–present): 
 Toy Story

 Transformers

 The Twilight Saga


 X-Men


 Llyfryddiaeth 





 Dolenni allanol 
 Grosiau Swyddfa Docynnau Holl Amser Byd-eang yn Swyddfa Docynnau Mojo
 Ffilmiau â'r Gronfeydd Uchaf erioed yn y Byd yn The Numbers
 100 Ffilm Orau o Bob Amser yn Box-Office yn Filmsite.org

Categori:Rhestrau ffilm