The roar of applause at the Catch Me If You Can premiere was quickly followed by the thunderous sound of box office success. The film's opening weekend, from April 5th to April 7th, 1985, delivered a staggering $26.46 million. In the context of 1985, this was nothing short of phenomenal. To put it into perspective, some of the biggest blockbusters of the era had opened significantly lower: Beverly Hills Cop, a massive hit released late 1984, opened with $15.2 million; Ghostbusters (1984) debuted with $13.5 million. Catch Me If You Can's opening weekend wasn't just a success; it was a record-shattering event, nearly doubling the opening figures of many contemporary hits.
This unprecedented performance underscored the immense star power of Alex Hayes, particularly among teenage audiences. In the 1980s, teenagers and young adults formed a critical demographic for Hollywood. They were trendsetters, driving word-of-mouth, and crucially, they were repeat viewers. A film that captured their imagination could generate sustained box office momentum. Alex Hayes, with his string of hits like Fast Times at Ridgemont High, Risky Business, Sixteen Candles, Footloose, and The Breakfast Club, had cultivated an almost mythical connection with this demographic. His films weren't just watched; they were experienced, discussed, and re-watched. Catch Me If You Can, while a more mature departure, still leveraged this loyal fanbase, proving that Alex's appeal transcended genre, and that his audience was willing to follow him into new cinematic territory. His presence alone was enough to guarantee a massive opening, a testament to his unique position as a box office king.
The momentum didn't stop after the opening weekend. The film continued its impressive run through the weekdays. In its first week, from April 5th to April 11th, Catch Me If You Can added another $20.14 million from Monday to Thursday, bringing its total first-week gross to a remarkable $46.60 million.
The film's strong hold continued into its second frame, from April 12th to April 18th. Despite a natural drop from the opening surge, it pulled in a robust $16.85 million over the second weekend. The subsequent four weekdays added another $12.24 million, bringing its total second-week gross to $29.09 million, a clear sign of sustained audience interest and positive word-of-mouth.
Even as it entered its third week, from April 19th to April 25th, Catch Me If You Can maintained a formidable presence at the box office. It secured $11.63 million over its third weekend, followed by $8.31 million in the next four days, contributing to a total third-week gross of $19.94 million. The consistent, albeit declining, weekday performance showcased its enduring appeal.
After just three weeks in theaters, Catch Me If You Can had amassed a staggering total of $95.63 million. This rapid accumulation of revenue was particularly significant in the 1980s, where films often had longer theatrical runs and relied on sustained interest rather than just massive opening weekends. Content-driven movies, those with strong narratives, character development, and emotional depth, frequently demonstrated remarkable legs at the box office. For instance, Terms of Endearment, a family drama released just the previous year in 1983, went on to gross an impressive $108 million domestically, proving that compelling storytelling could attract and retain audiences over many months. Catch Me If You Can, with its blend of thrilling narrative and emotional depth, was clearly following a similar trajectory, indicating it would not only surpass the coveted $100 million mark but potentially go much further.
The film's impressive run continued into its fourth weekend. From April 26th to April 28th, Catch Me If You Can grossed an additional $7.97 million, pushing its domestic total past the coveted $100 million mark. This meant that in its fourth week in theaters, the film's total box office stood at a phenomenal $103.60 million.
Coinciding with Catch Me If You Can's continued success, The Breakfast Club officially ended its theatrical run in the same weekend. Domestically, it had grossed an impressive $103 million, and internationally, it added another $48 million, bringing its worldwide total box office to a remarkable $151 million.
With the success of Catch Me If You Can and the final tally for The Breakfast Club, Alex Hayes now had an astonishing five films that had crossed the $100 million domestic box office threshold. This was an unparalleled feat for any actor by 1985. To put this into perspective, the only other actor who had achieved five films grossing over $100 million domestically by this point was Harrison Ford, who had done so through his involvement in massive action and sci-fi franchises like Star Wars and Indiana Jones, with some of those films even crossing the $200 million mark domestically. But what made Alex's accomplishment more extraordinary was that he had done it without relying on action films or established franchises, genres that typically dominated the highest echelons of the box office. His success was built on character-driven narratives, comedies, and dramas, a testament to his unique appeal and ability to draw audiences based purely on his star power and compelling storytelling.
His achievement was further highlighted by the highly anticipated "Top 10 Money Making Stars" poll for 1984, which showcased the industry's most bankable names:
1.Alex Hayes
2.Clint Eastwood
3.Bill Murray
4.Harrison Ford
5.Eddie Murphy
6.Sally Field
7.Burt Reynolds
8.Robert Redford
9.Prince
10.Dan Aykroyd
Fueled by the immense success of Footloose and The Breakfast Club in 1984, Alex Hayes had, for the first time in his career, secured the coveted number one spot.
Despite this unprecedented box office dominance and his new position as the industry's top money-making star, there is criticism persisted among some film pundits. They pointed out that for all his commercial success, Alex Hayes still didn't have a single major award to his name, nor had he even received an Oscar nomination. "He's a box office king, no doubt," one critic wrote, "but can he truly be considered a great star without the industry's highest accolades?"
His supporters, however, quickly countered these arguments. "He's only 21," one fan letter published in a film magazine passionately argued. "He has a long career ahead of him to achieve that. Besides, look at Cary Grant – one of the greatest stars of all time, and he never won a competitive Oscar. To become a star, you need to draw people to the theaters, and Alex Hayes does that better than anyone. Awards are just icing on the cake."
Alex, for his part, remained largely indifferent to these debates, his focus entirely consumed by the demanding schedule of filming Ferris Bueller's Day Off.
On the set of Ferris Bueller's Day Off, during a brief break between takes, John Hughes asked the same question. "So, Alex," he began, settling onto a prop chair next to him, "I've been reading some of the chatter. All this talk about awards, or lack thereof. What's your take on it?"
Alex shrugged, a faint smile playing on his lips. "John, not every great actor has an Oscar. Just because you haven't won one, or even been nominated, doesn't mean you're not a great actor. Look at Paul Newman, for example. Nobody in their right mind would say he's not a great actor, right? And he's got a career that speaks for itself."
Mia Sara, who had been listening from a few feet away, walked over, a teasing glint in her eyes. "So, you want to be Paul Newman?" she quipped, leaning against a fake locker.
Alex chuckled, shaking his head. "No, Mia," he clarified, his smile widening. "I don't want to be Paul Newman. I want a career like Paul Newman. He's not just an actor, and not just a star. He's a perfect combination of both. My dream is to achieve that, and even surpass him. And that," he added, "takes a lot of effort."
And I will work hard until I achieve that goal, he thought to himself.