Paul Newman Net Worth Income Profile and Salary. (Shaker Heights, Ohio, 1925 – Westport, Connecticut, 2008) American actor. As a Hungarian and Catholic mother and a German Jewish father, during her youth she received a solid background, not only in the area of interpretation. The university was something that attracted him from very early. He studied economics at Kenyon College, Ohio. As a consequence of World War II, he served as a Marine in the Navy and, after the war, he studied Dramatic Art at Yale.
He also passed the Actor’s Studio, where he was one of the most brilliant students of his generation, among which were some who would later achieve a special renown, such as James Dean or Marlon Brando, and those who have moved the famous method Of the school to its interpretations of a more outstanding form, which contributed to popularize it and to make the people and the newspapers take care of him, and that the center exceeded the exclusively professional scope.
Newman’s beginnings were theatrical, where he managed to achieve great success and put himself in position to give way to the cinema. After appearing on some television shows, he was featured in Victor Saville’s The Silver Chalice (1954), a rather unlucky debut, as the film received no recognition. Two years later, however, the rise of Newman took place thanks to a work that placed him in the forefront of the young actors of that moment. Robert Wise gave him the lead role of Mark of Hate (1956) -thought at first for James Dean-, with which he got into the skin of boxer Rocky Graziano, who became a prominent champion in the United States, From a hard childhood and prison.
Then came a series of excellent performances that confirmed him as an actor of great value. His work in Arthur Penn’s “The Left Hand” (1958), in which he played Billy the Kid, the legendary gunman of the West, may be mentioned. The version of this personage, often taken to the cinema, emphasized, in this occasion, in the psychological aspects of the bandit, and the critic considered that Newman was memorable in its work.
That same year it returned to obtain another great success when embodying the young husband of the cat on the roof of zinc (1958), of Richard Brooks, an adaptation of the work of Tennesse Williams in which the frustrations and anxieties of the personage and their relation Matrimonial and family offered an excellent space for Newman to offer a display of all his dramatic ability to a very high level. He returned to success with his performance in Vincent Sherman’s The City in Front of Me (1959), this time as a young student who made his way into the world of law and maintained different relationships. It was one of the tapes that began to give him greater popularity outside the United States.
At the beginning of the sixties he collaborated in two films that, for different reasons, had an excellent reception. One was Exodus (1960) by Otto Preminger, a film version of the voluminous novel that best-selling specialist Leon Uris wrote about the formation of the state of Israel. Conceived as a great show film, Preminger managed to introduce some moments of excellent cinema. Newman incarnated Ari Ben Canaan, the Jewish agent who transported the emigrants to Israel and participated there in the fight against the English and Arabs.
The tape, because of the important production around him, indicated that Paul Newman had achieved the status of a great star, although he had never been very much in agreement with it, since he was always reluctant with the excessively commercial consideration that the great studies gave To its products (its militancy in radical political positions, within the concept that the United States gives itself to this word, has not prevented Newman from integrating, when necessary, in the celebrations and awards of the Academy without any problem).
His other important work at the beginning of the decade was Robert Rossen’s The Hard-Boiled (1961), a hard, uncompromising film about the life of a professional billiard player struggling to break through a world full of pitfalls, Of mafia and violent organizations. When the actor was fully placed, his next work was below what could be expected of him. Some of his failures not only competed as an actor, but also as a producer. Perhaps for this reason he began an activity as director, which began in the late sixties and came to 1987.
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In this facet he made five films, some of which showed the desire to make a “different” cinema, where the ideas and typology of the characters dominated over the action and the anecdote. In some of them the feminine protagonism corresponded to his wife Joanne Woodward. In this sense we should mention Rachel, Rachel (1968) and The effect of gamma rays on daisies (1972). Although his work as a director used to be received respectfully, they were far from the image he transmitted on the screen and the idea – sometimes incorrect – that the public had formed of him. Therefore it could not be spoken of that they were a success, which did not prevent him to continue like director in new occasions.
Throughout the sixties and in his facet of actor, worked with directors like Alfred Hitchcock (torn Cortina, 1966), and obtained a major success with Two men and a destiny (1969), of George Roy Hill, in which participated As fellow cast member Robert Redford, whose work was well received. In the eighties his activity was reduced, among other causes, because he put aside the roles of young man and sought interpretations more in line with the years he had. They were works in which he appeared as someone more reflective, skeptical of life and with an ironic behavior, that did not hide a good dose of cynicism in the best sense of this word.
These were the years in which he appeared in unequal, but sometimes important, titles such as Sidney Pollack’s Absence of Malice (1981), Sidney Lumet’s Final Verdict (1982), and The Color of Money (1986), with Martin Scorsese in Direction, which is conceived as a second part of The Hustler, in which Newman plays a veteran billiard player who is guiding the footsteps of a promise, role that Tom Cruise played. This work was especially important, because with him he obtained the Oscar of the Academy, for which he had been proposed up to six times – in 1994 he would receive an honorific for the whole of his race and for being one of the actors with more titles behind his back.
His last works showed him as an old glory for which time had not passed in pail, but still retained the prestige and consideration of one of the most important actors of the second half of the twentieth century. Of great appeal, Newman knew how to go beyond being a simple “pretty face” to demonstrate professionalism, interest and concern for the way of interpreting and analyzing the intricacies of his characters; Always considered that the cinema is more than pure entertainment.
His actions almost always had the tint of commitment, and although diversity was logical in someone with an activity as extensive as him, he always shone in conflicting types, uncomfortable in a society that they do not like even if they have no choice but to live in it and Adapt to an environment that they consider very questionable. He was undoubtedly one of the forerunners of the anti-star concept and demonstrated this in 2002 when, on his 78th birthday, he returned to the Broadway stage after almost four decades of absence with a new adaptation From the classic Thornton Wilder, Our Town.
Great amateur to the cars, participated in professional races. He created various types of business in which, with the coverage of his popularity, he sometimes sought part of the profits to revitalize on groups in need; Also held positions in the United Nations, although for a short time. His love life was discreet for what is usual in Hollywood: his marriage to actress Joanne Woodward was an example of stability.
With a half-century career behind him and 57 films in his filmography, Newman announced in 2003 his retirement. Undoubtedly, his long career has made him one of the legends of American cinema, in the same style as the most famous actors of the past. Intelligent and of exceptional physical appeal, for many years his name alone was enough to bring people to the movies. Some of his works are among the most important of the medium realized since the fifties.