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Brits hit o’seas

'Monty,' 'Bean' fight dinos' might

While the French may traditionally have sniffed at all things English, Brit pics “The Full Monty” and “Bean” have put in excellent turns in a busy French frame against the might of UIP’s “The Lost World: Jurassic Park” (cume: $361.7 million), which, after dipping just 14% in its sophomore sesh stomped $20.1 million, while “Cop Land” marshaled a great $1.3 million from 297 sites.

In its second French frame, Fox’s “The Full Monty” rose 28% and has amassed $3.8 million, leaving room for a brilliant bow by Polygram’s “Bean” (cume: $132.5 million), which tickled a strapping $7.2 million from 510 screens, while culling $191,110 from 14 Swiss sites, ahead of stablemate “The Game” (cume: $6.4 million), thrilling $35,436 from two Swiss screens.

In the U.K., Warners’ “L.A. Confidential” bowed third (with $1.8 million from 183 screens) behind “The Full Monty” in top spot for its 10th lap and a sturdy fourth lap for BVI’s “Hercules” (cume: $55.7 million), but ahead of a goodish turn by “An American Werewolf in Paris.” CTSI’s “Fools Rush In” (cume: $12.1 million) had a foolish turn with a mere $90,900 from 69 sites, but that was better than “Smilla’s Sense of Snow,” freezing a measly $53,115 from 60 prints, while Polygram’s “Snow White: A Tale of Terror” mustered an appalling $3,210 from 15 sites.

‘Confidential’ fine in Oz

“L.A. Confidential” (cume: $6.2 million) had a fine Australian bow, helped by a publicity campaign by Oz stars Russell Crowe and Guy Pearce, sleuthing $800,000 from 151 screens. But the thesps kept their clothes on and were unable to shift “The Full Monty” from top spot in its third lap, although it beat a surprisingly good turn for Fox’s “Picture Perfect” (cume: $2.1 million), which smoked $476,555 from 104 sites. UIP pickup “Dust Off the Wings,” a surfie pic, wobbled with $56,354 from 46 cinemas.

“L.A. Confidential” claimed highest per-screen averages in Norway and Denmark, charming $110,055 and $65,709 from 25 and 13 prints respectively, while nabbing $36,239 from six screens in Finland.

DreamWorks debut pic “The Peacemaker” (cume: $9.2 million) spied $1.2 million from 181 Italian screens, behind Gaumont’s “The Fifth Element” (cume: $185.8 million), which futured a great $3.4 million from 153 Italian screens. “Peacemaker” also sleuthed $630,221 from 135 Brazilian prints and nabbed $362,068 from 165 Mexican screens and $156,033 from 34 Portuguese prints.

Fox owes a lot to the dry economic vision of former U.K. prime minister Margaret Thatcher, whose coal mine closures inspired hit Brit comedy “The Full Monty” (11-territory cume: $69 million), which stripped $1.1 million from 242 German screens — ahead of New Line’s “Spawn” (cume: $7.3 million) bubbling $694,402 from 231 theaters — while revealing $82,234 from 26 Austrian screens.

“G.I. Jane” (cume: $13.9 million) surprised everyone by marching into top spot in Spain with $1.3 million from 172 screens, ahead of “Howard Stern’s Private Parts” staggering a lousy $99,223 from 78 prints and Polygram’s “Photographing Fairies” wilting just $14,543 from 18.

CTSI’s “My Best Friend’s Wedding” (cume: $76 million) plotted a Col TriStar record-setting bow in Argentina, romancing $678,758 from 44 prints, while partying $104,000 from 13 screens in Chile and $353,226 from 16 Hong Kong theaters. The Julia Roberts starrer also lured CTSI’s second-biggest bow (behind “Men in Black”) in Greece, smooching $398,470 from 24 sites, while waltzing $68,184 from 14 houses in Slovenia and Yugoslavia.

Passed $1 bil mark

As BVI passed the $1 billion mark in overseas box office receipts for 1997, “Air Force One” (cume: $76.2 million) posted BVI’s second-biggest bow ever in Thailand behind “Con Air,” kidnapping $589,000 from 123 screens, while retaining top spot and dipping only 10% in its sophomore German lap.

CTSI’s “Men in Black” (cume: $273.7 million) spooked $312,328 from 88 prints in India, a CTSI record and that nation’s second-biggest bow ever behind “The Lost World: Jurassic Park.”

BVI’s “Con Air” (cume: $114 million) retained top spot in its second Japanese lap, almost doubling the bow of WB’s “Conspiracy Theory” (cume: $44.2 million), which scuttled an estimated $708,333 from 139 Japanese screens, while moving $126,461 from 48 Indonesian prints.

WB’s “Contact” (cume: $57.7 million) bowed in the top spot in Holland — where Polygram’s “A Life Less Ordinary” (cume: $3.2 million) lured an OK $94,437 from 25 sites — Turkey and South Africa, beaming $253,684, $112,294 and $168,976 from 48, 37 and 24 screens respectively.

UIP’s “Event Horizon” (cume: $10.8 million) terrified a terrific $319,777 from 24 Singapore screens, while spooking a good $119,448 and $100,709 from 25 and 19 sites in the Philippines and Argentina respectively.

BVI’s “Face/Off” (cume: $92.6 million) ripped Israel’s fourth-biggest bow of all time (behind “Independence Day,” “Men In Black” and “Air Force One”) with $239,000 from 29 prints.

Fox’s “Speed 2: Cruise Control” (cume: $102.4 million) zoomed off with $154,790 from 21 Greek sites and $84,072 and $30,510 from three and seven theaters in Egypt and Slovenia respectively, while stablemate “Volcano” (cume: $62.6 million) bubbled $84,973 from 45 Polish prints.

In Ireland, Polygram’s “Wilde” scripted a good $22,835 from five screens, while CTSI’s “Beverly Hills Ninja” (cume: $7.7 million) chopped a measly $1,898 from one Russian cinema.

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