The Jerusalem Cinematheque is rolling out the red carpet for one of Hollywood’s most enduring legends this September, as it launches “Paul Newman: A Tribute,” a sweeping retrospective honoring the multifaceted life and career of Paul Newman. Running from September 10 through October 3, 2026, the event promises to offer audiences a rare and comprehensive look at the actor’s storied legacy, both on and off the screen. As reported by The Jerusalem Post and corroborated by several international outlets, the program is set to feature a carefully curated selection of Newman’s most iconic films, including both his acting triumphs and directorial achievements.
For many, Paul Newman’s name conjures images of piercing blue eyes and a magnetic screen presence. But as the Cinematheque’s lineup demonstrates, his impact runs much deeper than his celebrated good looks. Newman’s career spanned decades, genres, and continents, with performances ranging from rebellious antiheroes to quietly tormented men, from comedic charmers to steadfast leaders. According to UA.News, the retrospective is designed to showcase this remarkable versatility, inviting new generations to discover why Newman remains a touchstone in cinematic history.
The tribute kicks off with “Somebody Up There Likes Me,” Robert Wise’s 1956 biopic chronicling the rise of boxer Rocky Graziano. This film marked Newman’s breakout role, catapulting him into the Hollywood spotlight and setting the stage for a career defined by bold choices and memorable characters. As The Jerusalem Post notes, this early performance is a testament to Newman’s ability to embody both physical and emotional intensity—a quality that would become a hallmark of his best work.
One of the retrospective’s most anticipated screenings is Otto Preminger’s 1960 epic, “Exodus.” In this film, Newman portrays Ari Ben Canaan, a Haganah commander tasked with shepherding Jewish refugees to what would become the state of Israel. The role resonates deeply with Israeli audiences, not only because of its historical subject matter but also due to Newman’s own Jewish heritage—his father was Jewish, and Newman often spoke of his connection to that lineage. “Exodus,” based on Leon Uris’s bestselling novel, played a pivotal role in shaping international perceptions of the nascent Israeli state, making its inclusion in the Cinematheque’s program especially meaningful.
The retrospective doesn’t stop at Newman’s early or most famous roles. It dives into some of his lesser-seen gems, such as Richard Brooks’s adaptation of Tennessee Williams’s “Cat on a Hot Tin Roof.” Here, Newman stars opposite Elizabeth Taylor as Brick, a former football star grappling with personal demons as his wealthy Southern family gathers around a dying patriarch. In Robert Rossen’s “The Hustler,” he brings to life “Fast Eddie” Felson, a brash and brilliant pool player whose ambition leads him down a path of self-discovery and loss. Then there’s “Cool Hand Luke,” directed by Stuart Rosenberg, where Newman’s portrayal of a defiant prisoner inspired one of cinema’s most quoted lines: “What we’ve got here is a failure to communicate,” delivered by a corrupt warden and etched into movie history.
Newman’s personal and professional partnership with Joanne Woodward is another thread woven throughout the Cinematheque’s tribute. Their first film together, Martin Ritt’s “The Long, Hot Summer,” not only marked the start of a legendary on- and off-screen relationship but also set the tone for a series of collaborations that would span decades. The couple married in 1958 and appeared together in ten films, a testament to their enduring bond and creative synergy. As highlighted by The Jerusalem Post, Woodward’s presence in the retrospective is significant, especially given her starring roles in three films directed by Newman himself.
Among these directorial efforts is Newman’s 1968 debut, “Rachel, Rachel,” which features Woodward as a lonely schoolteacher undergoing a quiet transformation. The film was lauded for its sensitive portrayal of isolation and hope, earning critical acclaim and further establishing Newman as a force behind the camera. Equally notable is “The Effect of Gamma Rays on Man-in-the-Moon Marigolds,” adapted from Paul Zindel’s Pulitzer Prize-winning play. In this haunting drama, Woodward delivers a riveting performance as a troubled mother, a role that won her the coveted Best Actress Award at the Cannes Film Festival. The third directorial entry, “The Glass Menagerie,” brings together Woodward and John Malkovich in a retelling of Tennessee Williams’s classic, which some critics have hailed as the finest cinematic adaptation of the play.
The program doesn’t shy away from Newman’s later career highlights, either. “The Sting,” directed by George Roy Hill, reunites Newman with Robert Redford in a rollicking tale of Depression-era con artists. The film’s intricate plot and charismatic leads made it a box-office sensation and cemented both actors’ places in film lore. Then there’s Martin Scorsese’s “The Color of Money,” where Newman reprised his role as Eddie Felson alongside Tom Cruise. This performance finally earned Newman the Academy Award for Best Actor, a recognition many believed was long overdue. Rounding out the lineup are the Coen brothers’ quirky “The Hudsucker Proxy,” with Newman as a larger-than-life corporate boss, and Sam Mendes’s “Road to Perdition,” in which an aging Newman brings gravitas and melancholy to the role of a mob patriarch opposite Tom Hanks.
What makes this retrospective particularly special, as The Jerusalem Post and UA.News both emphasize, is its breadth. Audiences will have the chance to revisit classics and discover hidden treasures, all while gaining a deeper appreciation for Newman’s artistry. The Cinematheque’s program is not just a stroll down memory lane; it’s an invitation to reflect on what made Newman such a compelling figure. His looks may have opened doors, but it was his talent, depth, and humanity that kept audiences coming back for more.
For younger moviegoers, there’s even a nod to Newman’s later work as the voice of Doc Hudson in Pixar’s “Cars,” a role that introduced him to a new generation. Yet, as the Cinematheque’s organizers are quick to remind, Newman’s legacy is more than the sum of his filmography. It’s about the enduring power of storytelling, the ability to inhabit complex characters, and the quiet dignity with which he approached his craft.
As the lights dim and the first frames flicker across the screen in Jerusalem this fall, movie lovers will be reminded that Paul Newman’s legacy is as vibrant and vital as ever—a testament to a life lived in pursuit of excellence, both on set and beyond.