Jesus Christ Superstar

Rating:
Summary: In Defence Of Ted Neeley
Review: Neeley's delivery of Jesus is stunningly believable. I do find it amazing that some people consider him wimpish. He plays Jesus, from beginning to end, with a tough dignity which is deeply moving and totally credible, and the Gethsemene song knocks me down. This guy's voice is amazing. This has to be done extremely well for it to work (I felt it fell quite flat in the version with Glenn Carter - although Carter's interpretation/performance picks up towards the end). In other respects, however, I do prefer the recent adapted stage production - in terms of setting and excellence of casting - and the physical closeness used to convey the Judas-Jesus relationship throughout the work - Judas betraying Jesus and then collapsing in his arms - later standing on the cross so Jesus can't carry it, etc - that Judas is just amazing - and the Caiaphas and Annas scenes are also stunning. Ted Neeley is by far the best thing about the 1973 film. Judas is excellent, and so are the landscapes and cinematography, but Neeley's performance stands out by a mile. Why do people have a problem with him being short? I think it adds poignancy and shows Christ's utter vulnerability, and Pilate himself points out that Jesus is small. It is the ordinariness and extraordinariness of this carpenter's son which comes home to me in this film. Moreover, he is a consummate actor. He is technically perfect but also fluent, human and real as he agonises with his God and father over the poisoned cup. I will search for other films in which Mr Neeley has appeared.

Rating:
Summary: The "groovy" version
Review: I always think of Norman Jewison as the quintessential Hollywood director, a consummate professional with a rather wide range (e.g, The Cincinnati Kid (1965), In the Heat of the Night (1967), Fiddler on the Roof (1971), Agnes of God (1985), Other People's Money (1991), etc.) a man who has made many successful movies, a man who will do justice to the material in a popular, but not entirely mid-brow fashion. He will attempt nothing fancy, but will go with the reasonable, and he will never stray far from the understanding that the purpose of a movie is to sell tickets and to entertain. He is particularly good at translating stage plays onto the silver screen. Here he is called upon to turn the once controversial Tim Rice/Andrew Lloyd Webber rock opera into a movie. His framing conception is to park a bus load of performers (recalling perhaps a Beatles' Magical Mystery Tour or a Shakespearean troupe) on a barren spot in the Holy Land where they will put on an enthusiastic, low budget production of the play, which is filmed. When they're finished they pack everything back into the bus and drive off. Well, almost everything. Christ, in the form of Ned Neeley, who is perhaps a little too slight, and a little too cute for the part (although no one will ever completely please attempting to play the son of God), is still up on that cross, presumably hanging around for the resurrection that never comes in the staunchly secular Rice/Webber musical. This is Jewison's little statement as he has Yvonne Elliman (Mary Magdalene) and Carl Anderson (Judas) look back.

Seeing this in the year two thousand and one for the first time has certain advantages. One, it doesn't seem such a departure from the traditional London/New York musical, since one has already experienced Hair, Godspell, Tommy, etc. Two, the propriety of playing the crucifixion story to rock music and the controversy of presenting a secular, perhaps sacrilegious Jesus to a mass audience are now mute points. Most Christians, I dare say, now believe Jesus Christ, Superstar to be a positive thing for Christianity and even responsible for bringing many people into the fold. Three, one can compare it with the recent film production directed by Gale Edwards and Nick Morris.

That film, starring Glenn Carter as Jesus and Jérôme Pradon as Judas and Renee Castle as Mary Magdalene, with its montage of twentieth century costumes, Judas in a black leather jacket, the Romans in Nazi uniforms, a priest looking like Darth Vader, etc. is snappier, more tightly focused than Jewison's methodically paced compilation. Here, though, we have the groovy feel of threads from the 70s, bell bottoms and exposed chest hairs, along with some very strange head gear for the priests, and soldiers looking like construction workers in pink hard hats. Here we have tanks bizarrely chasing Judas before he is herded among the goats. Here we have a black Judas and an Hawaiian Mary Magdalene, while more recently we have a velvety black Mary Magdalene and a balding European Judas. In both cases we have a blond Jesus dressed all in white often spotlighted in the golden hues of a renaissance painting. While the Edwards production is shot on an elaborately constructed stage, Jewison has the dry rocks and sands of Jerusalem as a backdrop for his scaffolding. Throw in a camel or two and some goats, and there is more of a feel of the Middle East than in the recent film. But does this matter? Is JCS a play about a contemporary Jesus or a modern dress passion play pretending to be about Jesus? Is Jesus a superstar like a rock musician or a superstar like the founder of a religion? Part of the genius of the conception of Rice and Webber is this essential ambiguity. Is he the Son of God, or a historical personage? Most Christians would say he is both. Rice/Webber emphasize that he was a man, like any other.

Musically speaking, and this play is really about the music as much as anything else, both productions are beautiful. The Jewison film is superior in the angelic voice of Yvonne Elliman and in the power and energy and full range vocals of Carl Anderson's Judas. It suffers from a weak Jesus and some inexplicable guitar riffs and the addition of some music not composed by Webber and Rice. Josh Mostel's libertine King Herod and his mocking "King of the Jews!" is on a par with Rik Mayall who did the mocking as a gay King Herod in the Edwards film. Both could pass for fully degenerate denizens of Sodom and Gomorrah. The pain and agony of the crucifixion is more graphically accomplished here, but Glenn Carter's blood-smeared Jesus is the more tortured.

I could go on making comparisons, some you might agree with and some you might not. But I really think the important thing is that both productions are wonderfully entertaining and engaging--how can one go wrong with such beautiful music and such a compelling story? It's a matter of taste. I had a lot of fun viewing them both.

Rating:
Summary: Rice & Lloyd Webber's Operatic Passion Play on Film
Review: After the bizarre Broadway staging of Tim Rice and Andrew Lloyd Webber's rock opera, the film version of "Jesus Christ Superstar" had to be a more traditional offering. Producer-Director Norman Jewison filmed on location in Israel, using natural settings and sparsely constructed sets for what is essentially a string of music videos (since it was written as a studio album first, the music presents problems for moving from one scene to the next). The framing device for the film is the cast arriving/departing by bus. Ted Neeley's voice is suited to the role, but certainly he is the shortest Jesus I can recall seeing in films. Yvonne Elliman and Barry Dennen remain from the original studio album and Broadway production as Mary Magdalen and Pilate, which is perfectly all right. However, it is clearly Carl Anderson as Judas who gives the best performance in the film. The film version suffers from the inadequate voices of several of the supporting cast members (most notably Josh Mostel as Herod) and the grossly reduced chorus of singers which never comes close to matching the number of bodies on screen, and there are a few unintentional laughs (as when Israeli tanks come over the dune and chase Judas). But the use of paintings depicting the crucifixion and the final shot of sheep being herded past the cross the cast leaves behind on the hill, are particularly effective. Of course as with most movies, if you want to watch it you want to get a hold of the widescreen edition, otherwise you cannot appreciate the Last Supper tableau or just enjoy the compositional elements of the shots. Every Easter weekend I watch this film, even if I do not have time to do all of "Jesus of Nazareth" or "The Greatest Story Every Told." The only thing radical here is the music, but I still have to think it qualifies as the requisite joyful noise.

Rating:
Summary: Excellent, but shouldn't be Rated G
Review: This is by far one of the most moving interpretations of the last days of Jesus, and I especially appreciate the depiction of Judas (who is really the star of the show) as a victim of God's plan rather than a disillusioned disciple. I watched it recently with my wife and almost-5-year-old daughter, not remembering how graphic some of the scenes were, and I feel strongly that the "G" rating is very misleading. Parents: think twice before using this film to introduce your children to the story of Jesus - especially since there is no resurrection -- it just ends with Jesus getting crucified, and the subtlety is really lost unless you know the whole story in advance. Still 5 stars, hands down, just an inaccurate rating.

Rating:
Summary: Superstar on Their Minds
Review: I caught a preview of the upcoming (to the states anyway) filmed stage version of JCS after watching the movie version of JOSEPH on PBS. I had obviously heard of this 'rock opera' before, but hadn't heard any of the music from it. I was only paying half attention to the song that was being preveiwed, 'Thinking of Heaven' or 'Jesus is Their Mind' or something. I thought nothing of it since I wasn't really familiar with the story of Jesus or it's characters. Later on, I decided to try to download that song, 'Heaven on their Minds'. I was hooked. I downloaded more and more songs and eventually bought the Concept Album. Then I saw the DVD in the same store and swore I'd come back for it. I popped it in and watched. Admittedly, at first I wasn't to keen on a lot of performances (I was used to Ian Gillan et al) but then they grew on me - ESPECIALLY Carl Anderson who is now my hands-down fav Judas. Another thing that took a LOT of getting used to was the campy 70s feel to it. Things that still aren't settled are 'Simon Zealots' and 'King Herod's Song' (not to mention Peter's. . . interesting hairdo). They just feel very uncomfortable. But some scenes are positively heart-wrentching and make you forget about the campiness. When Judas runs off into the heard of running sheep (he's a lost lamb, get it?), Judas' suicide, the trial before Pilate, and the final scene if Jesus on the cross sent shivers down my spine and made me tear up even. No other version of the story of Jesus has EVER done that for me. The shot of Jesus on the cross just somehow brought everything home in one big smack for me. Excruciatingly moving. The acting is oh-so good with the main characters and setting it in Jerusalem is really a nice touch. In all, if you don't let the 70s camp bother you too much, you will really find a VERY moving experience and one of the best interpretations of the story of Jesus Christ around. Nail me to your cross and break me, bleed me, beat me, take me now. . . before I change my mind. . .

Rating:
Summary: It may not save your soul, but it will lift your spirits.
Review: Jesus Christ Superstar is one of those rare films that not only entertains but also has the benefit of according a good deal of its viewers with a life changing experience.

Jesus Christ Superstar, as you most of readers may have guessed, is about the life of Jesus Christ. Or, more specifically, about the last days of Christ.

In this adaptation of the greatest story ever told we watch Jesus, his disciples and friends come to life with hopes, dreams, fears, and aspirations. There is Jesus Christ who not only is capable of great wisdom and understanding but also to fits of anger, frustration, and fear. With Jesus is his right hand man who later betrays him is Judas. Looking after his earthly needs is the prostitute Mary Magdalene. Worshipping him and yet later denying him is one of his most devoted disciples Peter. Following him blindly and at the same time completely misunderstanding any of his motives is Simon. The Head Priest Caiaphas is conspiring to kill him. Cheerfully assisting him is the very unusual and hedonistic King Herod and reluctantly issuing the death sentence is Pontius Pilate. The film's use of modern-day images as a way of "symbolizing" the relevance of the Biblical story, while updating it for modern audiences, seems very awkward. The Roman soldiers wear modern-day Army uniforms and carry machine guns, while jet planes soar overhead to represent "angels" during the moment when Judas betrays Jesus. The beginning of the film shows the cast members arriving at the site of the film on a bus, and the film ends on a solemn note as the cast boards the bus and looks back sadly at the cross they've left mounted. During the song "Damned For All Time" when Judas is being chased by tanks the musical beat sounds very similar to the "Batman" TV series.

This movie has some interesting settings and visuals but it's not everyone's cup of religious experience, but certainly innovative. I am affected by this movie. I'm also convinced that you will also be affected by this movie. It may not save your soul, but it will lift your spirits.

Rating:
Summary: JCS is great!
Review: I love this movie. It's really cool the way they filmed with natural settings in Israel. Watching this movie makes you feel sorry for Judas and it shows Christ was a man too, who wasn't very happy to die. Also, the music is really great. Andrew Lloyd Webber can really write music!

Rating:
Summary: "Everything's Alright" in this movie.
Review: Okay, first of all, I would really like to tell you how great this movie is. It's pretty cool, so beware of people griping that it's not like the real Jesus or not like the real play. (How could it be? I mean, it's a movie.)

Now, this movie really takes an interesting viewpoint on Jesus' story. In other shows like "Jesus" or "The Lamb of God," they make Judas look like somekind of evil...well...JUDAS! But in this one, you sympathise with HIM!!! See, in JCSS, Judas is Jesus's best friend in the whole world. He thinks Jesus's situation is getting out of control, and that he is helping by turning him in before it gets out of hand. And when he hangs himself by jumping out of a tree, you feel really bad for him.

Mary Magdalene, however is portrayed pretty much like the real Bible. She is a harlot who was freed from evil spirits by Jesus ("I've been changed, yes really changed...") and she has a little bit of a crush on Jesus but is a bit scared of him. ("I wouldn't want to know; he scares me so!")

Those are really good characters, but I think Jesus was just okay. Oh, well.

The ending is really powerful. Jesus get nailed up on the cross, forgives his enemies and dies. After that, we are left with the hippies who put on the play. Dressed in their tiedied t-shirts and bellbottoms, they get back on the bus looking real sad. I never really got that part, but then I realized that Judas gives this icy look before leaving, and then it shows the sun setting on the cross. It is thought provoking.

People are always complaining about this movie, but it's dramatic, musical, religious, and you MUST rent it TODAY! "Everything's Alright" in this movie.

Rating:
Summary: Controversial Rock Opera
Review: Jesus Christ Superstar was Andrew Lloyd Webber and Time Rice's first major success. The rock opera was first a concept album that exploded on the charts hitting number one and spending almost a year in the top ten and unleashed Murray Head on the world. It was then made into a successful Broadway play starring Ben Vereen. In 1973, respected director Norman Jewison (In The Heat Of the Night, Fiddler On the Roof) brought it to the big screen. The film was shot on location in Israel and that gives it an authentic feel. There is no dialogue in the film, everything is sung in true opera fashion. It kind is like a forerunner of the music video in that fact. Mr. Jewison mixes the biblical setting with modern nuances such as guards carrying machine guns, tanks and planes appear and at the beginning of the film, the cast arrives by bus and at the end it leaves on the same bus. The beginning of the film shows the cast setting up what appears to be a play. They get into costumes and set up for the play. The movie focuses on the last seven days of Jesus and Ted Neeley appears in the title role. The movie focuses on Jesus' relationship with Judas, who is played by Carl Anderson. The plot likens Jesus to a modern-day rock star, who rises above all the other prophets due to the hype-machine. Judas thinks that Jesus is believing the hype and moving away from his humble roots. He turns traitor in the belief he is helping the nation. At the end, we are left wondering if this was just a play or was it real as all the cast members get on the bus except Mr. Neeley. The movie fades out quite powerfully in the sunset on the cross. The movie moves along through the series of songs and is well choreographed. The album, play and film were highly controversial due to its take on the Passion of Jesus, but putting religious beliefs aside, it is an excellent film.

Rating:
Summary: Must Be Watched As A Period Piece
Review: Five stars for the music, three for the film. You've got to watch this movie knowing that it is a time capsule of tail-end hippy era fashions and staging. 'Superstar' is my favorite Lloyd-Webber musical because of its power. Ted Neeley is quite good as Jesus, making an even better fist of the role vocally than Ian Gillan's original. And his acting is sensitive and thoughtful. His Jesus is no mystic wimp. Perhaps the man himself was a little like this? It's an interesting question to ponder. And Carl Anderson: You are WONDERFUL! I've performed in two versions of 'Superstar' myself and yours was always the vocal interpretation I referred to, as should most performers. Passion like Anderson's cannot be faked or easily duplicated. 'Jesus Christ Superstar' is as relevant now as it was thirty years ago, for many reasons, and no matter what the version.