For the 1955 film **All That Heaven Allows**, the financial performance was a significant victory for Universal Pictures, solidifying the star power of Rock Hudson and Jane Wyman and the creative standing of director Douglas Sirk.
### **Box Office Breakdown**
During its original theatrical run, the film was a major commercial success. It was primarily released in late 1955 and early 1956.
* **Domestic Rentals (U.S. & Canada):** **$3.1 million**. In 1950s trade terminology, "rentals" refers to the studio's share of the box office (roughly 50% of the total ticket sales). This equates to a gross box office of approximately **$6 million to $7 million** in 1956 dollars.
* **Variety Ranking:** The film ranked **#27** on *Variety's* list of top-grossing films for the year 1956.
* **Adjusted for Inflation:** In modern currency, the domestic performance is equivalent to an adjusted gross of approximately **$155 million**.
### **Budget Comparison**
While Universal did not publicly release exact production ledger figures, the budget for *All That Heaven Allows* is estimated within the context of producer Ross Hunter’s typical operations and Sirk’s other major works:
* **Estimated Budget:** **$1 million to $1.5 million**.
* **Budget Context:** Following the massive success of Sirk and Hunter’s previous collaboration, *Magnificent Obsession* (1954), which grossed over $5 million, Universal increased Sirk’s budget and granted him greater creative freedom. Hunter was known at the studio for his ability to produce "glamorous" high-gloss films on relatively modest budgets compared to the sprawling epics of the time.
* **Profitability:** With rentals of $3.1 million against a production cost of roughly $1.2 million, the film was **highly profitable**. It surpassed its break-even point (usually 2–2.5x the budget) within its initial North American release alone, before accounting for international sales.
### **Post-Theatrical and Long-Term Earnings**
The film's financial life extended far beyond its initial 1956 run, driven by three distinct phases:
1. **Television Syndication (1960s–1980s):** Sirk's melodramas became staples of afternoon television and "Late Show" slots. While specific deal figures for this title are proprietary, it was part of a major library sale by Universal to MCA (which later bought the studio) that helped keep Universal financially stable during the industry’s decline in the late 1950s.
2. **Critical Re-evaluation (1970s–Present):** In the 1970s, the film was reclaimed by critics (notably via the French magazine *Cahiers du Cinéma*) as a subversive masterpiece. This renewed interest led to prestigious re-releases and academic screenings, maintaining its market value.
3. **Home Video & The Criterion Collection:** The film has had a robust life on home media. It was one of the early "prestige" titles for the **Criterion Collection** (Spine #95), seeing multiple re-releases on DVD and Blu-ray (most recently in 2014). It continues to generate revenue through digital rentals on platforms like Apple TV, Amazon, and the Criterion Channel.
### **Summary Table**
| Category | Figure (Approximate) |
| :--- | :--- |
| **Production Budget** | $1.2M – $1.5M |
| **Domestic Rentals (1956)** | $3.1M |
| **Estimated Total Gross (1956)** | $6.2M |
| **Modern Adjusted Gross** | $155M+ |
| **Status** | Highly Profitable / Evergreen Library Asset |