By May 1982, the theatrical runs for all major films released during the banner year of 1981 had officially concluded worldwide.The final global box office numbers are in for films released in 1981, and one name stands out not once, but twice: 'Alex Hayes'. In a remarkable display of star power and audience appeal, the rapidly ascending actor has achieved the rare feat of starring in two of the year's top ten highest-grossing films worldwide. This accomplishment firmly cements Alex's position as one of Hollywood's most bankable leading men.
Leading the charge for Alex is the surprise smash hit "17 Again", which landed solidly at #6 on the global chart with an impressive $103 million take. The film captivated audiences worldwide, proving Alex's ability to carry a high-concept comedy with charm and charisma.
But Alex's 1981 domination didn't stop there. Also cracking the coveted Top 10 list is the beloved teen rom-com "Can't Buy Me Love", which secured the #9 spot with a robust $64 million globally. The film resonated strongly with younger audiences, showcasing a different facet of Alex's appeal and proving his versatility.
To have one film reach the upper echelon of the global box office in a single year is a significant achievement. To have two is almost unprecedented, especially in a year crowded with established franchises and major blockbusters. Alex finds his name on a list alongside heavyweights like Harrison Ford in Raiders of the Lost Ark (#1, $354M), Christopher Reeve in Superman II (#2, $216M), and Roger Moore's James Bond in For Your Eyes Only (#3, $195M). Holding two spots in such esteemed company speaks volumes about Alex's connection with moviegoers across the globe.
This double success underscores what studios are increasingly realizing: Alex is a guaranteed draw. His presence signals not just a quality performance but also a strong likelihood of box office success. From high-concept comedies like "17 Again" to relatable teen romances like "Can't Buy Me Love," Alex has demonstrated a unique ability to connect with audiences and deliver hits.
As Alex is currently hard at work on his next project, the industry is watching closely. After a monumental 1981 that saw him conquer the global box office charts twice over, one thing is clear: Alex's star is not just rising, it's blazing brightly.
1981 Global Box Office Top 10 is:
1. Raiders of the Lost Ark - $354 million
2. Superman II - $216 million
3.For Your Eyes Only - $195 million
4.The Cannonball Run - $160 million
5.On Golden Pond - $119 million
6.17 Again (Starring Alex) - $103 million
7. Arthur - $95 million
8. Stripes - $85 million
9. Can't Buy Me Love (Starring Alex) - $64 million
10. Chariots of Fire - $58 million
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Beyond the raw box office numbers, another key indicator of star power in the industry solidified Alex Hayes's phenomenal 1981. In 1982, the results of the highly anticipated Top Ten Money Making Stars Poll of 1981 were released, offering a different but equally crucial perspective on audience appeal.
For decades, this influential poll, conducted annually by Quigley Publishing Company, surveyed motion picture exhibitors across North America. Theater owners and managers voted for the stars they believed were the most consistent draws, the names that reliably brought audiences into their specific theaters throughout the year. It wasn't just about the grosses of one blockbuster, but about perceived bankability and drawing power from the viewpoint of the people selling the tickets, making it a vital barometer within the industry.
Landing on this list signified genuine clout. For the year 1981, the exhibitors ranked the stars as follows:
1. Burt Reynolds
2. Clint Eastwood
3. Dudley Moore
4. Dolly Parton
5. Jane Fonda
6. Harrison Ford
7. Alex Hayes
8. Alan Alda
9. Goldie Hawn
10. Bill Murray
Securing the #7 position was a massive validation for Alex Hayes. It placed him firmly amongst the most established and beloved stars of the era, proving that his success with "17 Again" and "Can't Buy Me Love" wasn't a fluke. According to the exhibitors on the front lines, audiences weren't just seeing his movies; they were coming out because he was in them. This ranking, combined with his box office achievements, painted a clear picture: Alex Hayes was arguably the breakout star of 1981.
News of Alex's #7 ranking sent ripples of excitement through the industry, nowhere more so than at Creative Artists Agency (CAA). The agency's five founders – Michael Ovitz, Ron Meyer, William Haber, Michael S. Rosenfeld, and Rowland Perkins – were reportedly ecstatic. Having two clients, the established Bill Murray (#10) and their blazing new star Alex Hayes (#7), on the prestigious Quigley Poll was a major coup, solidifying CAA's reputation as the agency for box office powerhouses. This success significantly boosted the internal standing of Alex's own agent, Nancy Jones. Her keen eye for talent and skillful management of Alex's burgeoning career were now undeniable; her influence and position within CAA rose rapidly, placing her just behind the original founders in stature.
Back home, John Hayes watched his son's ascent with immense pride, seeing the hard work and dedication translate into industry-wide recognition and popular acclaim.
For Alex himself, the accolades stirred complex emotions. There was, undeniably, a profound sense of accomplishment. He felt he had achieved the dream his mother had always held for him, reaching a level of success that would have made her immensely happy. Seeing his name listed alongside legends on box office charts and exhibitor polls was tangible proof that he had 'made it' by conventional standards.
Yet, beneath the surface of satisfaction, a restless energy churned. Alex wasn't satisfied. These milestones, while significant, felt like mere footholds on a much steeper climb. The recognition was welcome, but it wasn't the ultimate goal. A fierce ambition burned within him, pushing him beyond the desire for mere stardom. He wanted to reach heights of artistry, impact, and influence that nobody had ever reached before – and perhaps, that nobody would ever reach again. The triumphs of 1981 weren't a conclusion; for Alex Hayes, they were simply fuel for an ascent aimed at the very stratosphere of cinematic history.