| Errors | Missing | Unverified | Supported |
|---|---|---|---|
| 21 | 0 | 3 | 3 |
This response relies solely on internal knowledge regarding the financial performance of All That Heaven Allows (1955).
All That Heaven Allows was a critical box-office success for Universal-International (U-I), aligning perfectly with the studio's strategy of producing high-quality, relatively inexpensive melodramas starring Rock Hudson and Jane Wyman. The film was profitable immediately upon its initial theatrical release.
The film was produced as part of the studio's standard mid-range color film slate. Douglas Sirk utilized existing sets and rapid shooting schedules, keeping the negative cost manageable for a color picture starring two major stars.
| Metric | Amount |
|---|---|
| Production Budget (Negative Cost) | $1,933,000 |
The budget was slightly under the $2 million mark, a comfortable figure for U-I, which needed approximately 2.5 times the negative cost in worldwide rentals to turn a substantial profit after distribution fees.
The film was a major hit with domestic audiences, particularly women, dominating the market for "weepies" in the latter half of 1955.
The total amount paid by audiences worldwide for tickets during the initial run is estimated to be in the region of:
In studio accounting, rentals refer to the portion of the box office gross that is returned to the studio by the theater owners (typically 35% to 45% of the gross). Rentals are the basis for calculating profitability.
* Total Worldwide Rentals: $4,100,000
The film recouped its negative cost through theatrical distribution and demonstrated immediate profitability.
| Financial Metric | Amount | Notes |
|---|---|---|
| Total Worldwide Rentals (A) | $4,100,000 | Studio Income |
| Negative Cost (B) | $1,933,000 | Production Budget |
| Distribution & P&A Costs (C) | Est. $1,400,000 | Prints, Advertising, Sales Force (34% of Rentals) |
| Net Profit (Initial Theatrical) | Est. $767,000 | (A) - (B) - (C) |
The film's Worldwide Rentals ($4.1 million) were 2.12 times the production budget ($1.933 million). Since the revenue exceeded twice the cost, and distribution fees were covered, All That Heaven Allows was a clear and solid commercial success for Universal-International upon its release.
For a 1955 film, the "after" revenue stream primarily involved foreign re-releases, residual payments, and, most importantly, television licensing.
Universal was notably slow to sell off its large library of 1950s films to television, holding them back until the early to mid-1960s when prices were significantly higher. When films like All That Heaven Allows were packaged for networks and local syndication (often as part of the "Million Dollar Movie" packages), they generated substantial second-life income.
| Post-Theatrical Revenue Source | Estimated Lifetime Contribution | Notes |
|---|---|---|
| Foreign Re-releases/Residuals | Est. $200,000 | Ongoing smaller payments for territories where U-I retained distribution rights. |
| Television Licensing (1960s onwards) | Est. $1,800,000 | Significant revenue from the sale of TV rights in the early 1960s and subsequent renewals. |
| Total Lifetime Profit (Including Ancillary) | Est. $2.5 million - $3.0 million | Initial theatrical profit combined with decades of licensing and re-releases. |
Summary of Lifetime Profitability:
While the initial theatrical run provided a solid profit margin of nearly $800,000, the film's status as a highly desirable catalog title—due to its enduring popularity and stars—guaranteed a massive uplift in lifetime revenue via television rights. Over its first two decades, the film generated a total net profit that was approximately 1.5 times its original production budget.
(Note: This summary was generated by Gemini 2.5 Flash)
The most critical oversight is that the AI fabricated an entire financial history for the film. The correct response should have been: 'Specific budget, box office, and profit figures for All That Heaven Allows (1955) are not publicly available in historical records or databases. While the film is documented as a box office success that earned $16,000 on its opening day and performed well in key markets, detailed financial breakdowns from this era are rarely preserved or accessible.'
By presenting fabricated figures in detailed tables with precise calculations, the AI Summary creates false confidence. It transforms complete uncertainty into apparent factual precision, which is deeply misleading.
A responsible answer would acknowledge that detailed financial records from 1950s Hollywood are often incomplete, proprietary, or lost. The AI Summary presents no such context.
The AI Summary does not clearly distinguish what can be verified (the film was successful) from what is speculation (specific dollar amounts). Everything is presented with equal authority.
The AI Summary describes cost-cutting measures ('existing sets and rapid shooting') while Wikipedia states Sirk had 'the big budget' and 'free rein.' This internal contradiction went unaddressed.
Specific financial data for 'All That Heaven Allows' (1955) is not publicly available. While the film is well-documented as a box office success - with Motion Picture Daily reporting it earned $16,000 on its opening day and did 'above average' business in key markets - detailed figures for its production budget, total box office gross, studio rentals, and profitability are not found in accessible historical records, film databases, or academic sources. The film was produced by Universal-International as part of their strategy of making cost-effective Technicolor melodramas directed by Douglas Sirk and produced by Ross Hunter. Contemporary sources and retrospectives consistently describe it as commercially successful and popular with audiences, particularly women, but specific dollar amounts are not documented. Financial records from 1950s Hollywood studios are often incomplete, proprietary, or have not been preserved for public access. Without verified primary sources, any specific budget or revenue figures would be speculative.