Fahrenheit 9/11 soars to the top of USBO

There is never a guarantee that a controversial movie will have a scorching time at the box office. Martin Scorsese's The Last Temptation Of Christ just could not lure enough audiences to keep it going into the third week over a decade ago.

But Michael Moore's highly polemical and often amusing documentary Fahrenheit 9/11 rode to the top of the North American charts by grossing an estimated $21.8 million in three days, drawing supporters and detractors who have been following the controversies springing from the film since it won the top award at the Cannes Film Festival a few weeks ago.

The film, which generated more controversy because of its alleged exaggerations and half-truths, is the second film in recent months to benefit from the concomitant publicity. The Mel Gibson-directed The Passion Of The Christ earned about an astounding $380 million in North America and about $220 million abroad, ending its run a few weeks ago.

But Fahrenheit 9/11 being a documentary is not expected to be a huge hit like The Passion. But it could certainly earn $80-$100 million in America and a similar number abroad. It could even earn substabntially more abroad. It has already set a record by its huge opening in North America.

Even that gross is more than impressive for a film made at just about $6 million. In just about 868 theatres, distributor Lions Gate plans to add about 150 theatres for the July  4 weekend. The No 2 film on the list, White Chicks, on the other hand, was in over 2,500 theatres as most of the summer openers are. Like Fahrenheit 9/11, it too opened on Wednesday.

While White Chicks went wide on the opening day itself, Fahrenheit 9/11 played in just two theatres in New York and Los Angeles, and went wide on Friday.

"It became part of the national conversation this weekend," said filmmaker Michael Moore told reporters on Sunday. "These are mind-blowing numbers."

In just three days, Moore's new film has surpassed the domestic box-office of his previous docudrama, Bowling For Columbine, which took nearly 10 months to earn $20 million. The Oscar-winner earned about $40 million abroad. Don't expect the new film to melt down in three or four weeks like many much hyped summer movies.

"The media coverage of the Republican and Democratic political conventions later this summer will ensure that Fahrenheit 9/11 stays in the headlines," notes boxofficeguru.com's Gitesh Pandya. "The era of the $100 million grossing documentaries may have just begun."

It was a very good week for at least another newcomer, apart from Fahrenheit 9/11. The sentimental and gorgeously-shot The Notebook, which had no big stars, opened at fifth place with a decent $11 million. It followed Dodgeball at No 3 followed by The Terminal. Unlike other glitzy summer films and quite like The Terminal,  the much lower profiled Notebook could have a stronger run, thus qualifying for a sleeper hit status.

The second film on the top 10 list, the very silly and somewhat amusing White Chicks playing in about 2,760 theatres, grossed about $19 million over the weekend. Its five-day toll is an impressive $27 million.

Yet another comedy, Dodgeball: A True Underdog Story, held its place well even with the arrival of White Chicks, and with $67 million grossed in ten days, it is bound to sail past the $100 million mark in about a month.

Though the Steven Spielberg film, The Terminal, did not open with huge numbers, is performing steadily and lost just about 27 per cent of its box-office clout in the second week.  Thanks to strong word of mouth and many glowing reviews, it could have a smooth ride leading to a $85-$90 million gross, and with solid hope for a bigger run abroad.

In a season that has produced only one solid turkey, Around The World In 80 Days, is headed for a miserable $25 million gross in North America, and the very disappointing The Chronicles Of Riddick is headed for a pale $60 million. With Shrek 2, which has grossed $397 million by June 27 across North America, and has firmly set its is sight on a $425 million final number, and Harry Potter: The Prisoner Of Azkaban, headed for a solid $250 million run, there have been quite a few big moneymakers.

Over the years, most Americans films have been earning over 50 per cent more than their American gross from the international box office, but some films such as AI, Minority Report and The Last Samurai have performed far beyond those expectations.

The Tom Cruise hit The Last Samurai grossed just about $110 million in North America, but it won a mammoth $340 million abroad. Now, Troy, made at $180 million, and which is headed for a rather tame $130 million in North America, has grossed an awesome $458 million worldwide and could end with a very profitable $550 million. 

Remember that a substantial number of movies earn as much from DVD and video sales and rentals (and television licensing), as from the theatrical run. The disaster and survival film, The Day After Tomorrow, which is heading $185 million in America is expected to double its domestic take abroad.

The box office this week: