Yesterday, we paid tribute to the life and career of Paul Newman with a list of our picks for his greatest performances. And looking back, it’s easy to see the Newman made quite a few movies that were not only very good, but eventually became acknowledged as classics. But for this week’s installment of Yesterday’s Hits, I’d like to explore one of Newman’s films that was incredibly popular in its day but hasn’t endured quite like his best films- 1960’s Exodus.

What made Exodus a hit?: It seems strange now, but there was a time when the majority of box office hits were based on bestselling novels. People would read the latest literary blockbuster, then flock to the movies to see the cinematic version of the story. In the late 1950s and early 1960s, historical fiction was in vogue, and one of the most popular books of the time was Leon Uris’ 1956 novel Exodus. A dramatization of the 1948 founding of the state of Israel, Exodus captivated readers who enjoyed the way Uris interspersed a recent historical event with invented and composited characters. By the time Exodus became America’s biggest bestseller since Gone With the Wind, it was inevitable that it would be headed for the big screen.

Knowing the value of the property (Uris sold the rights even before the book hit bookstore shelves) MGM pulled out all the stops to make Exodus a major, A-list production. Tapped to direct was Otto Preminger, one of Hollywood’s best-known and boldest filmmakers, and himself of Jewish descent. In turn, Preminger hired the previously blacklisted Dalton Trumbo to handle screenwriting duties, which along with Trumbo’s work on Spartacus effectively ended the blacklist. The film was to be shot entirely on location in Cyprus and Israel, where the book had also been set. And the casting befitted a production of this scale. The cast was led by Newman, one of Hollywood’s hottest leading men, and also included Oscar winner Eva Marie Saint, Oscar nominees Lee J. Cobb, Ralph Richardson, and Sal Mineo, and up-and-comer Peter Lawford. As expected, the film was a big hit, bringing in more than $8 million domestically to become one of the top grossers of 1960.

What happened?: As with anything else, tastes change. To begin with, readers are a fickle bunch, and the popular taste for historical fiction was supplanted by other genres. Moviegoing audiences soon followed suit, and the historical epics that loomed large over the box office in the early 1960 soon gave way to hits that were more visceral or fanciful. Today, in a time when the only three-hour blockbusters are fantasy stories, Exodus would most likely be relegated to the Oscar-bait pile, given a limited release in late December before going wider in mid-January.

Does Exodus still work?: Almost, but not quite. It begins very well, with the famous incident in which hundreds of Jewish refugees attempted to escape their captivity on the island of Cyprus and sail to Palestine. In this section of the film, Preminger does a very good job at capturing the event in a way that does justice to those who lived it and while also being narratively compelling. These scenes aren’t particularly complex from a moral standpoint- the British are trying to block the Jews from their freedom, so they rebel by staging a hunger strike- but they have a clarity of purpose that gets the movie off on the right foot.

However, once the story gets to Palestine, much of the focus is lost, and despite a stirring score by Ernest Gold, the film begins to seriously drag. The cast of characters, previously united by the escape attempt, splinters the story into a number of different plot strands that are meant to encompass the difficult birthing process for the state of Israel. For example, Newman’s Ari Ben Canaan works with his father (Cobb) to establish the nation in a peaceful manner, whereas Dov Landau (Mineo) joins up with a group of resistance fighters. These stories are only as effective as the characters who inhabit them, and unfortunately, the quality of character development varies greatly.

Given particularly short shrift are the women. The American nurse Kitty Fremont (Saint) is clearly meant to function as the audience surrogate in the drama, gradually coming to an understanding of the ongoing plight- and enduring humanity- of the Jewish people. But as a character, she’s kind of a non-starter, carried along by the demands of the plot instead of by her own strongly defined nature. Even more sketchy is the character of Karen, played by newcomer Jill Haworth. In the course of the film, Karen reveals herself as a symbol of the fortunes of the Jewish people in Palestine. At the beginning of the story, she’s full of hope and promise, only to grow increasingly disillusioned once she arrives. By the time the film turns her into an innocent martyr in the final reel- buried alongside a sympathetic Arab, no less- the symbol has become far too belabored for its own good.

Faring much better is Mineo, who was never one of the breakout stars of the Method generation but who was one of its most interesting actors. Dov’s storyline is somewhat awkwardly integrated into the rest of the film, but they work pretty nicely on their own, due in large part to Mineo’s performance. It helps that the Dov Landau storyline contains some of the film’s edgiest material, as when he admits to working as a Sonderkommando in Auschwitz, and more. Preminger, never one to shy away from controversy, changed Dov’s back story from the original novel, so whereas he survived as a forger in Uris’ book, Preminger and Trumbo made his method of survival somewhat more unpleasant. I admit that I was a little shocked that the line, “they used me… like a woman!” passed muster under the Production Code.

As for Newman, it’s not one of his great performances, but he’s fine in a role that makes effective use of his star charisma. And when he’s called on to make an impassioned speech in the film’s final scene, he pulls it off without coming off as sanctimonious. There are a number of elements to the film that just don’t work, or which have dated poorly. However, the sentiments Newman expresses in his final eulogy are as relevant today as ever. The situation between the Jews and Arabs is as uneasy as it ever was, and we’re no closer to a solution than we were half a century ago. And while Exodus doesn’t quite stand the test of time, these lines still hit home:

”The dead always share the Earth in peace- and that’s not enough. It’s time for the living to have a turn. The day will come when Arab and Jew will share in a peaceful life this land that they have always shared in death.”