As I type this, the original musical “The Greatest Showman,” an ode to showmanship, show business, show people, tolerance, and the power of Hugh Jackman doing a song and dance, will have been in theaters four months, 120 days.
It sheds screens every weekend as the Blockbusters of Summer line up to take its place, but you can still see people buying tickets to the darned thing at any of the 209 theaters where it’s still showing.
I saw a handful of folks checking in to an Orlando showing while waiting for a screening the other night.
As of this moment, it’s well past its days in the box office Top Ten, but it’s still earning about a quarter of a million bucks every single weekend.
When the last digital print of it is pulled from its last theater, it will have earned $175 million or so, and stands at $173,350,000 today.
It did this despite not getting its due from the Golden Globes of the Oscars.
It is still playing long after the actual “Oscar contenders” fled the scene, none of them reaching the audience it did save for “Dunkirk.”
That’s a bigger take than any “Tomb Raider” remake, a healthier haul than Mr. Spielberg’s video gamegasm, “Ready Player One.”
It made its money the way movies used to make their money, with a long, steady profitable run, some good word of mouth, some repeat business from musical theater fanatics.
It’s no masterpiece of the genre, though it is pretty good and damned ambitious. Zac Efron may never be this appealing on the screen again.
Maybe Fox only made this to appease their “Wolverine” money maker. But damned if this didn’t pay off.