Paul Newman

Paul Newman is no longer with us. He was in classic films in 6 consecutive decades – not too shabby.

Cars – (2006) – As the grumpy old Hudson Hornet, Newman provides a steady voice. Bonus points for his casting since auto racing was one of his off-screen pastimes. B+

Road to Perdition – (2002) – Underrated film from director Sam Mendes where Newman is a mob boss with a biological son (Daniel Craig!) who’s responsible for the murder of family members of his surrogate son (Tom Hanks) – who now wants revenge. Newman delivers classic line after classic line terrifically. A-

The Hudsucker Proxy – (1994) – Newman is the boss of the company where Tim Robbins is working his way up. He seems equally at home doing this screwball homage as he does playing pool. Still the Coens lose track of him half way through to the film's detriment. B+

The Color of Money – (1986) – One of Martin Scorsese’s lesser films is still fantastically shot and edited with perfect music choices. It’s officially a sequel to The Hustler, but mostly it’s a remake with Fast Eddie Felson becoming Minnesota Fats and Tom Cruise becoming Fast Eddie. The Best Actor Oscar went to Newman for this, but it was more of a make up kiss for screwing up 4 years earlier. B+



The Verdict – (1982) – This is my favorite Newman performance as the lawyer who finds his conscience. Sidney Lumet moves the camera so gracefully and Mamet’s screenplay hits all the right notes, confronting clichés, then transforming them into something else. Great, great film. A

The Sting – (1973) – Lightning does strike twice when Newman and Redford team up to con some bad guys during the Great Depression. While not quite as well written as their first teaming (what is?), there’s still a lot of fun watching all the great actors – even after you know all the plot twists. B+

Butch Cassidy and the Sundance Kid – (1969) – Exhibit A for what onscreen chemistry is. Newman and Robert Redford deliver their lines, facial expressions, and gestures in perfect harmony. Newman went to bat for the relatively unknown Redford at the time – and we’re all better for it. A

Cool Hand Luke – (1967) – It’s a little long and the pace could certainly be tightened, but there’s no denying Newman’s charisma and the interesting, heavy symbolism. B+

The Hustler – (1961) – Great directing, camerawork, and cinematography in this black and white masterpiece from Robert Rossen. George C. Scott is perfect and Jackie Gleason is surprisingly great after seeing The Honeymooners and Smokey and the Bandit. But Newman is the center and they all pivot off of him. A

Cat on a Hot Tin Roof – (1958) – Based on a Tennessee Williams play, the dialogue rules the day and both Newman and Elizabeth Taylor exhibit the qualities that made them superstars. B+