Rating: 
Summary: Hollywood: PLEASE REMAKE EXODUS!!!!
Review: The novel Exodus by Leon Uris was by far the better experience. The 1960 version did not dare to touch upon the deep morality of the book, nor the fact that Ari Ben Canaan was an unsympathetic hero. Mark Parker was greatly reduced, Dov Landau turned into a cross-section of Holocaustic horror, and Karen Hansen Clement (by far the book's most compelling personality) was glossed over by a platinum blonde with far too few lines to be of interest. Dov Landau's redemption through the arc of Exodus the novel was a tremendous story in and of itself, and perhaps there is too big a story to be made into film... but I pray that it can be done.
Only one major plot was followed once the boat gets to Palestine (Kitty and Ari), and without the other vibrant relationships to color the story, the power is lessened.
None of Uris' Thucydidean talents were represented by the limited scope of this version. There are great and terrible issues in Uris' book, and they were not done justice in this film, I urge you all to read the book. Also, check out "Cast a Giant Shadow" with Kirk Douglas and John Wayne for a more compelling story of the Palestine mandate.
Rating: 
Summary: A Very Ambitious Movie
Review: EXODUS is the story of the struggle to establish Israel in the years immediately following World War II. Paul Newman plays the part of a leader of a Jewish guerrilla group called Hagana. Eva Marie Saint is a young American widow and nurse. The film is very ambitious and tries with some success to tell a complicated tale. The strong supporting cast includes Ralph Richardson, Peter Lawford, Lee J. Cobb and Sal Mineo. The movie received an Oscar for Best Scoring of a Dramatic Picture and nominations for Best Supporting Actor (Sal Mineo) and Color Cinematography. Otto Preminger was the director and the script was handled by Dalton Trumbo. EXODUS was based on Leon Uris's novel by the same name.
Rating: 
Summary: To quote Halliwell, "a good solid plod".
Review: Released in 1960 and running 3 hours and 27 minutes, EXODUS is not exactly a film you watch casually. You make a commitment, and if you are bent enough on seeing it, you might be rewarded. The performances are generally adequate, with the exception of Lee J. Cobb's excellent Barak Ben Canaan and Hugh Griffith's memorable ship buyer. Despite all the plaudits he recieved, Sal Mineo really seems a bit on the hammy side. Otto Preminger's direction manages to keep the film from becoming intolerable, and he must be commended for attempting an epic about people, not just things, but EXODUS is somewhat underwhelming. Ernest Gold's memorable theme won an Oscar. Some sources list running times of 212 and 220 minutes, and these may include Overture, Intermission, and Exit Music, none of which are on MGM's budget release. Recommended for renting more than buying. Jamie Teller
Rating: 
Summary: Heartfelt condolences to Leon Uris
Review: Leon Uris must have sat down and wept after seeing what Hollywood, Otto Preminger, Paul Newman, Eva Marie Saint, and J. Lee Cobb did to this memorable story . . . Badly directed, poorly acted, edited by someone totally unfamiliar with the concept of "continuity" - I sat and watched the entire film . . . and winced. Anyone interested in enjoying first hand the full scope of the story that is allegedly portrayed in this film, should buy a copy of the novel by Leon Uris - a writer who is undoubtedly one of this century's most exceptional story tellers. While "Exodus" is - and remains - a memorable piece of historical fiction portraying the wide scope of events leading up to the founding of the State of Israel . . . the movie is not only a waste of money, but an embarassment as well.
Rating:
Summary: An epic drama that works
Review: I love this movie. Beyond capturing the drama of the events leading to the establishment of the state of Israel in May 1948, this film suggests some of the political, ideological, and social conflicts within the Zionist movement as the British Mandate came to an end while hundreds of thousands of displaced Jews, homeless and without other refuge, were smuggled into Palestine. The film is a fictionalized account of a very real crisis, and does a good job of fairly representing both the attitude of the British authorities (including the anti-Semitism of some British officials and officers) and of different factions that threatened to rip the Zionist movement apart. Of particular interest to me was the way in which the tension between the Haganah and the Irgun was represented. The Ben-Gurion-like character, Barak ben Canaan, is played by Lee J. Cobb, representing the mainstream Zionist movement, with its emphasis on diplomacy and maximizing the number of immigrants who could reinforce the population of the Yishuv. This character reflects the pioneering spirit of early Labor Zionism and the kibbutzim, with their emphasis on building a new homeland and constructing viable productive and self-sufficient communities. The military arm of this movement, the Haganah, is ably represented by Paul Newman through the character of Ari ben Canaan, the young Sabra who is prepared to use force to defend the Yishuv but desires peace. Against this is the quasi-Begin-like charismatic character of Akiva ben Canaan, played by David Opatoshu, one of the leaders of Irgun (this character, unlike Begin, did not survive the period represented in the movie). The Irgun and Stern gang spirit is ably represented here, as is its tension with the Haganah. My own instincts and sympathies are with the Haganah in this quarrel, but the film represents both sides fairly and seems to suggest that both were necessary for Israel to achieve statehood. The film also suggests the sinister role of the Grand Mufti of Jerusalem in the violence of 1947-1948, who, as the film points out, spent World War II in Berlin as a guest of the Fuhrer (and this foreshadows the increasing influence of anti-Semitism in the Arab world). As is too often forgotten, none of the Arab states in 1948 -- not Egypt, not Syria, not Jordan -- had any intention of allowing the establishment of any kind of Palestinian state, hoping rather to carve up the territory amongst themselves (as they demonstrated by their policies of control over Gaza and the West Bank from 1948 to 1967). Yet the Grand Mufti rejected the 1947 partition, thus losing the best chance that the Palestinians had of achieving their own independent state through cooperation rather than conflict with the Israelis. In my own view, however, the film is more charitable toward the Irgun position than is justified. At the same time, the filmic representation of the bombing of the King David Hotel is spectacular, and Sal Mineo gives a brilliant performance as the young embittered Auschwitz survivor struggling to give a new meaning to his existence. Unfortunately, Eva Saint Marie completely fails to move me as the American nurse who falls in love with the Paul Newman character. The film also fails to give adequate treatment to the situation and dilemmas facing ordinary Palestinians caught in this crisis. On the other hand, the film is a movie, not a historical study, and it's already more than three hours long. A great movie, and good companion film to follow "Schindler's List."
Rating:
Summary: Love Letter to Israel...
Review: If one is an Israeli, or otherwise has a vested interest in the State of Israel, then this is the picture for you. Like "Cast A Giant Shadow" (1966), this film plays best when preaching to the chior. Unfortunately, the rest of the audience will find the events only mildly interesting, and the subject matter as a whole boring. Otto Preminger is brilliant, of course, and he shines in the overall sprawl of "Exodus", but the film just doesn't seem to have any "oomph" behind it. While there is some lovely photography, and a handful of crowd scenes that are truly of Epic proportions, the film plays more as an Epic Pretender instead of the Epic that it could have been. The film gets off to a great start, with Newman freeing detainees from British authorities in Cypress who are then stranded in port aboard the newly christened frieghter "Exodus". Unfortunately, the film does not keep its focus tied to this event, and once the crisis is resolved, the film rapidly loses steam until a prision breakout sequence much later on. It really is too bad, but the film seems to have too big a scale for the material in the script. Great actors like Newman, Saint, Cobb, and others fill the screen with talent and sophistication, but the end result cannot overcome the sum of the boring parts. If Preminger had cut the film by about thirty minutes, it would have been tighter and less languid. But this film was essentially a love letter to Israel, and like other ethnic-centric projects, more freedom is allowed by studios than perhaps is good for the film being produced. Honest criticism of such an ethnic-focused work never goes over well with the thin-skinned among us, but the truth is that this film is just plain dull. One of those movies that makes the viewer cry, "End, Movie! END!", despite the great acting and sprinkling of truly suspenseful scenes. Although based on real events, "Exodus" does not seem very real in terms of history. "Cast A Giant Shadow" is probably better as history, as it focuses on the actual struggle to capture Jerusalem before the UN deadline that would set the borders for the new country. Both are a little too idealized, which is the pitfall of any love letter.
Rating: 
Summary: Good history
Review: On the surface this is a history of the early days of the nation of Israel. Under the surface it is condemnation of several British officials who tried to sabotage the country. Pay attention to who says and does what.
Rating:
Summary: Read a terrific book!
Review: Leon Uris has written some great reading novels, and this is one of them. I have read that he gave up on "Hollywood" filming his books since they never used any of his dialogue, and EXODUS is in that category. Saw it in its original big theater run and was looking forward to a really great movie - wide screen, stereo, and an unforgettable theme that was played on the radio regularly. Unfortunately, this flick is very boring, long AND boring. Even if the reviews said that the DVD video and audio transfer were great, I still wouldn't waste my time with this really bad film. Otto Preminger could be good, but he could be bad -- even with a cast like this. Another example of how bad he can be is what he did with Monroe in RIVER OF NO RETURN. A Z-grade western, as someone once observed, and Marilyn agreed. If you are really bored on a rainy day, and want to sleep, put this "dozer" on and make your exodus to dreamland.
Rating:
Summary: Better History through Hollywood
Review: I wasn't sure why Paul Newman did this movie until I heard Adam Sandler's Hannukah Song and found out the man was half Jewish. I've seen where this movie has been compared to "Cast a Giant Shadow" with Kirk Douglas, that's why I bought it. I don't see the comparison other than its a movie about the forming of the nation of Israel. The movies tell totally different stories. I learned a few things about the time and the struggle and the story. I'd call that a good purchase. My two biggest complaints: 1. Too long 2. Paul Newman's almost non-reaction to the murder of John Derek's character. Come on, you two were supposed to be like brothers. Even some post-WWII Nazis showed up in the movie. I'm not sure if that was factual, but hey a movie never suffered by having Nazis as bad guys.
Rating:
Summary: Pity About Saint
Review: Great movie. However the reason I rate it 4 stars and not 5 is because once again Eve Marie Saint wrecks a movie. She did the same in "Grand Prix". I find her the most irritating actress alongside Kim Bassinger. She always looks out place. Why Leon Uris even included a character such as hers is beyond me. Kitty is so foreign to the story of Exodus top begin with. Otto Preminger's casting of her is a mystery.
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