Geneviève Bujold Movies

27 thoughts on “Geneviève Bujold Movies”

1. Movie Year
   Ocean’s Eleven (2001) part of ensemble…but more of a Clooney/Pitt movie
   Pretty Woman (1990) 2nd billed
   Runaway Bride (1999) top billed…but movie did well on the Gere/Roberts union
   Wonder (2017) supporting role…Wonder was the star
   My Best Friend’s Wedding (1997)….Cameron Diaz at her peak
   Erin Brockovich (2000)…..all Julia…not thinking Albert Finney did much lifting
   Ocean’s Twelve (2004)….part of ensemble…Julia did not come back for part 3
   Hook (1991)….support of Robin and Dustin
   Notting Hill (1999)….sold on the power of Grant/Roberts
   Valentine’s Day (2010)….ensemble piece…so only has about 5 scenes
   Sleeping with the Enemy (1991) all Julia
   Pelican Brief, The (1993)….pairing of her and Denzel was box office gold
   Steel Magnolias (1989)….supporting role.

   Cherry picked her Top 13 domestic gross.

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2. Hey Bob…tons of information in your comments. Glad you like that updated career ticket sellers. I am hoping to add about 10 more Loy movies to the page…….the lady made a ton of movies. That will still leave about 15 more movies to research…her totals just grow and grow…lol.

   Purchasing power is one way to do some comparisons….not thinking many box office websites use that approach. That might be a niche for you to do. Our adjusted grosses are based solely on ticket sales. WoC has always wanted us to only show the tickets sold…..that way no adjustments would be needed.

   As for Roberts….I love her, WoC loves her, we watch her movies regularly….but some of the same arguments you make against Loy, can be made against Roberts. If you look at Roberts’ Top 12 box office hits….she has some major box office stars in many of her movies..almost half could be considered ensemble or supporting roles…..with only two being movies she carried by herself…Sleeping With The Enemy and Erin B.

   Not sleeping much allows me to get so much stuff done on the website. One more month to continue spending so much time on UMR. Spending almost 25 hours a week just doing return comments.

   Good feedback as always.

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   1. 1/Whilst the ticket inflation method is the best for measuring popularity of movies/stars over the decades it’s not helpful in highlighting the purchasing power today of yesteryear’s grosses -ie showing us how much a film’s actual earnings would be worth today in real terms.

      2/That’s because the films concerned are never going to be released at today’s ticket prices and in calculating the current value of their actual grosses we are in reality stuck with the prices that they were released under in their day; and as those prices were cheap the resulting grosses convert to relatively weak contemporary purchasing power.

      3/However had they not been cheap in their times maybe as many tickets would not have been sold as higher ticket prices possibly could not have been afforded by a lot of people back then.

      4/The Consumer Price Index of the Bureau of Labor Stats is generally regarded as THE BIBLE for calculating the changing values of the US dollar and many scholarly sources away from the film sites go by the Bureau’s calculations when providing inflation adjusted figures for movies and all other commodities.

      5/Wikipedia is one source that regularly uses the Consumer Price Index inflation adjustment calculator and for example some years ago Wiki provided an inflation adjusted list of Elvis’ Top 10 grosses that way.

      Reply

      1. I think the ole Work Horse has been doing a bit of manipulative cherry picking – shame on him!

         Julia is the top billed star in 15 [or 60%] of the 25 highest grossing worldwide films in her Cogerson charts often alone above the title; and the combined Cogerson gross for those 15 top billed movies is $5.7 billion averaging out at $380 million each – wow! I’m not even counting Pretty Woman which made her a mega star and in which she had the title role. However she was 2nd billed to Richard Gere there.

         Miss Loy unfortunately was top billed in just 2 [or a mere 8%] of her Top 25 Cogerson movies. Moreover-

         1/in 3 of her top 25 she was not billed as a star: Arrowsmith; Emma; and From the Terrace

         2/In 3 others in the 25 she was billed below Jean Harlow in two and Jeanne Crain in the 3rd. In the latter case both Crain and Thins were not given billing as prominent as that of star Clifton Webb on posters – see the IMDB and Wikipedia ones for example.

         3/In From the Terrace Miss Loy was reduced to playing Newman’s mother whilst her old beau Al Leach was still playing dashing lovers and seducers of sexy young women like Sophia Loren/Eva Marie Saint /Audrey Hepburn/Leslie Caron/Doris Day. In fact in 1960’s Midnight Lace Thins played the aunt of my Doris who was Archie’s lover and eventually wife in That Touch of Mink. Archibald who had been Myrna’s romantic screen partner in bygone days was just a year younger than Thins. “You couldn’t make it up!”

         4/Thins made Quigley’s Top 10 only twice languishing in the lower positions of 7 and 10 whilst Julia was in Quigley 10 times reaching the No 1 in 1999; so we know whom the pollsters at least PEERCEIVED as the more popular actress with the public

         5/The Thin Woman never won a competitive award/nomination of any kind whereas Julia secured 61 awards/101 noms including and an Oscar and 4 nominations [which you hold more store in than I do]. I think Thins SHOULD have won awards and as you know I think the modern awards system is ridiculous; but as Emperor Joseph 2nd kept dismissively saying in1984’s Amadeus when others complained to him about injustice or unfairness “Well -there it is!”

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3. In a scholarly article a couple of years ago a culture historian said whilst box office was naturally essential to ongoing film production it should be remembered that box office takings of yesteryear will normally have been long since spent and therefore have no financial value to anyone in contemporary society.

   Conversely he went on to say that great screen performances of yesteryear [such as those of Bette Davis and Olivier] can be kept ‘alive’ indefinitely for posterity via film restoration processes [eg Brando’s One Eyed Jacks] and DVD’s/TV etc.

   Though no sweetheart mourn me
   When I join the dead
   Still the flowers their dewdrops
   On my grave will shed.

   Though no earthly being
   Stirs my memory.
   Still the fields and meadows
   Will remember me.

   Though no passing wanderer
   Pauses there to pray
   Still the moon will see it
   On her heavenly way.

   I have sung of the flowers
   To the starry skies
   THEY will all remember
   Where their singer lies.

   [THE SINGER’s CONSOLATION – Alice Mutallah and Robert Schumann]]

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4. NOTES:
   1/In especially the first 3 or 4 decades of moviemaking cinema ticket prices were cheap relative to the overall economies in those decades; hence the relatively weak year 2020 potential purchasing power of the actual grosses from those days

   2/It will be seen from the table in Part 3 that [regardless of the number of tickets sold] across just 20 movies the weak purchasing power of ‘her’ grosses causes Miss Loy to lose a massive $3 billion of the $6.35 billion that is credited to her under ticket inflation adjustments
   .
   3/In short to reach the $6.35 billion in terms of purchasing power Miss Loy’s 20 films would have had to sell almost twice as many tickets as they actually did. Historians HAVE emphasized that point in relation to classic era ticket sales/purchasing power generally.

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