Top Grossing Films (U.S.)
| Rank | Title | Studio | Actors | Gross |
|---|---|---|---|---|
| 1. | My Fair Lady | Warner Bros. | Audrey Hepburn and Rex Harrison | $72,000,000 |
| 2. | Goldfinger | United Artists | Sean Connery, Gert Frobe, Honor Blackman | $51,081,062 |
| 3. | Mary Poppins | Walt Disney Productions | Julie Andrews and Dick Van Dyke | $31,000,000 |
| 4. | From Russia With Love | United Artists | Sean Connery | $24,796,765 |
| 5. | The Carpetbaggers | Paramount Pictures | George Peppard, Carroll Baker, Alan Ladd | $15,500,000 |
| 6. | A Shot in the Dark | United Artists | Peter Sellers and Elke Sommer | $12,368,234 |
| 7. | The Pink Panther | United Artists | Peter Sellers, David Niven, Robert Wagner | $10,878,107 |
| 8. | Viva Las Vegas | MGM | Elvis Presley and Ann-Margret | $9,442,967 |
| 9. | Hush… Hush, Sweet Charlotte | 20th Century Fox | Joseph Cotten, Bette Davis, Olivia de Havilland | $7,000,000 |
| 10. | A Hard Day's Night | United Artists | The Beatles | $6,165,000 |
| 11. | The Night of the Iguana | MGM | Richard Burton, Ava Gardner, Deborah Kerr | $6,040,000 |
| 12. | Father Goose | Universal Studios | Cary Grant and Leslie Caron | $6,200,000 |
| 13. | Sex and the Single Girl | Warner Bros. | Natalie Wood and Tony Curtis | $6,200,000 |
| 14. | Kiss Me, Stupid | Lopert Pictures Corporation | Dean Martin and Kim Novak | $5,000,000 |
Read more about this topic: 1964 In Film
Famous quotes containing the words top and/or films:
“We fight our way through the massed and leveled collective safe taste of the Top 40, just looking for a little something we can call our own. But when we find it and jam the radio to hear it again it isn’t just ours—it is a link to thousands of others who are sharing it with us. As a matter of a single song this might mean very little; as culture, as a way of life, you can’t beat it.”
—Greil Marcus (b. 1945)
“Television does not dominate or insist, as movies do. It is not sensational, but taken for granted. Insistence would destroy it, for its message is so dire that it relies on being the background drone that counters silence. For most of us, it is something turned on and off as we would the light. It is a service, not a luxury or a thing of choice.”
—David Thomson, U.S. film historian. America in the Dark: The Impact of Hollywood Films on American Culture, ch. 8, William Morrow (1977)