Rating: 
Summary: My Favorite of All Time!
Review: This is absolutely one of the most moving pieces of film I've seen. The location and performers were riviting. It makes some of our " new technology" in film look overdone. Jesus, Mary, Simon Zealotes, were awesome, but Judas really stole the show. We've watched this several times as a family. It is a great way for children to learn the Gospel.Love It!!!!
Rating:
Summary: JCS the best
Review: This was my favorite movie/album back in the 70's. Now with the Christian faith being renewed since "The Passion of The Christ", I searched for this movie and cd. And Amazon was there to provide it! To me, the singing is superb, and the actors are into their work. The movie pulls you in, and keeps you going til the end. And Ted Neeley's version of "Gethsemane" is heart wrenching and brings tears to my eyes every time. Once again, after a 30 year break, this is my favorite movie. However, my children, in their early twenties, would disagree with me.
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Summary: Jesus as Outsider in Jewison Interpretation
Review: Viewers at the beginning of the new millenium may be sidetracked by the trappings of the early 1970's fashions and 'loud' hair to notice the underlying theme of the disassociation and humanization of what were, until JCS was first heard on radio and stage, iconic and unattainable religious figures. Jewison's version takes that (still) radical humanization further. Firstly, it was the first "jesus" film to be shot in Israel. The bleak arid terrain, the ruins, and the minimalist sets and cast was a huge departure - not only from previous films on the same topic, but from the stage version of this musical, as well. Such an atmosphere is a character in and of itself. The two breaks from this sterility are the cast, their costumes, and post-crucifixion shephard (who, aptly, leads his sheep past the empty crosses). Jesus physically fades into this atmosphere with his white robe, pale hair, skin, and eyes. He doesn't disembark from the production bus at the movie's beginning, and he doesn't return to it at the end (as the other cast members do). Of all his 'groupies', or apostles, only two offer perspectives on his characteristics and motivations (while the others cluelessly sing, "... write the Gospels, so they all talk about us when we die"). Mary Magdalen offers an emotional and human perspective ("I Don't Know How to Love Him", and "Could We Start Again, Please"). Judas Iscariot offers a political and human perspective ("Heaven on Their Minds", "Blood Money"). Yvonne Elliman and the late Carl Anderson are well cast and believable in their interpretation of their characters' motivations. Jesus , himself, offers a theological and human persective ("The Temple", "Gethsemane"). In addition to the distancing of theological issues from everyday life and from the other characters, his main relationship is not with the others, but with God - whose presence is absent in any form in this film. It is no wonder then, after his death, that Jesus is absent from the rest of the film as well. This makes Judas' questioning of Jesus' motivations even more understandable than just what is contained in the music . Ted Neeley is perfectly cast as Jesus. He is not suppose to be ferocious. His almost delicate physical appearance makes the character's suffering and death even more sym(pathetic). His voice is powerfully emotional and moving. Having heard many different versions of the character's central song, "Gethsemane (I Only Want to Say)", including German, Swedish, British, French, American, and female (Amy Ray), Neeley's interpretation is the most poignent and relevant to this role.
Rating:
Summary: Revisionist and Visionary
Review: The DVD rendition of this film is certainly worth purchasing if you enjoy the movie. It comes with subtitles, actually accurate, which help the view appreciate the lyrics of this well-crafted musical. While there are those who get hung up on the parts that "did not happen", the fact is no one knows what or how anything happened. I find this movie inspiring and challenging to my faith, as well as stimulating to my musical visual senses. Carl Anderson (Judas) has an amazing voice. Ted Neely plays a Jesus who struggles between humanity and deity. Yvonne Elliman creates a new place for Mary Magdelene and for her powerful voice (Elliman's). If you enjoyed the movie or play, invest in this DVD. If you are willing to see an interesting theological exploration and hear powerful music, you may enjoy this as well.
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Summary: Reviewers Missed the Point re: Neeley
Review: "Nothing is so worth the utmost study as the attempt to clarify the meaning of a phrase, a bar, nay more, a single note." Richard Wagner. _The Great Conductors_, Harold Schoenberg. P. 132 I have read the "professional" and general viewing audience reviews of this particular interpretation regarding _JC:S_ (1973). Ted Neeley's presentation of the ancient Judaic Messiah is the most accurate of the many that I've encountered in all mediums, from print (NT and scholarly), to film (homosexual to fringe RC Catholic). Regarding this particular interpretation by Lloyd Webber and Rice, I have listened to many interpretations of the subjective completion (Jesus. The protagonist, or omniscient narrator in this version, is Judas). Many, including the much vaulted but mislead Ian Gillian's rendition, fail to achieve the same depth of emotional value regarding the pre-destination of the (now) Christian Messiah. Consider the poignant interlude of "Gethsemane - I Only Want to Say". There is a purpose to Neeley's offbeat, but regular timing. How would YOU feel if YOU knew that you were going to suffer an extreme torture and indescribable pain, culminating in death within 24 hours of the Gethsemeane incident? Neeley 'NAILS' THE EMOTION in these parts by singing behind the leader - the beat - GOD, as well as hitting Rock high notes accurately and tremoling expectedly during the above-mentioned 'show me ...' section. Jesus is multifaceted. Even if you are a believer, His sacrifice would not mean as much if he died as God, the Son. His sacrifice has meaning BECAUSE HE DIED AS A HUMAN: the 'word' made manifest as FLESH. Thus, does he have the frailties -- including fear -- of all of us. 'Why (the hell) should I die?!' 'Show me, just a LITTLE, of your ... omnipresent ... brain!" Panic, I would say. I certainly would not stay in the garden to be arrested (and thus, to begin the events that would result in my horrific death). Do I think that the human race is worth my prolonged grisly agony (à la Mel Gibson)? Do YOU?! "In many cases even the rough, literal maintenance of the time and of each continuous bar clashes with the sense and expression.... We are pilots not mechanics." Franz Liszt, The Great Conductors, Harold Schoenberg, p. 132.
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Summary: Jesus for the Hippie Crowd
Review: Jesus Christ Superstar isn't your average telling of the Messiah story. Andrew Lloyd Webber and Tim Rice, along with director Norman Jewison, take a very tongue-in-cheek approach to the telling of Christ's passion week. It's a telling that's ultra-reflective of the early 70s in which is was produced. The movie begins as a delapedated school bus loaded with actors and dancers rolls into the dessert, and then the kids on the bus begin unloading everything from a large cross to submachine guns. They then begin to tell the story of Jesus, completely in song and dance; there is no exposition, so if you don't at least have a passing idea of the events of Jesus' life, you'll be completely lost. This movie also represents an unique blend of biblical times, modern times (ok, the early 70s), and a world that only exists in the costumer's and choreographer's minds. For example, while Jesus and his disciples mostly where approximate attempts at the robes worn in biblical times, their Roman oppressors march around in modern fatigues with purple tank tops and Army helmets not unlike those worn by American troops in Vietnam (except in shiny silver). The people tend sheep just like in olden times, the Romans have tanks and jets. Obviously no attempt was made at accuracy of anything. The shirtless Sanhedrin with their gigantic black "pope" hats, for example, don't even hint at biblical times. The actor cast as Jesus looks as if he came from Norway. Judas is an African-American actor, who spends most of the movie in a fire-red spandex jumpsuit. Getting the picture? But then, historical accuracy never was the point. The point was to tell the Messiah story in a way that makes it hip and cool. This telling is most definitely fun, even if it isn't the least bit educational. On many levels, this telling serves well as a reward to the Sunday school class that just completed an indepth study of the Gospels, because it does little to explain the events in the story but does everything to liven them up and add unforgettable imagery.
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Summary: One of the very best..
Review: JCS is simply one the best musicals of all time..along with Godspell. Interestingly enough the person saying this, myself, is not a Christian nor of any kind of "Faith" as it is defined in the modern world.
But ever since I was young the story of Jesus and Judas has facinated me. JCS is one of the most emotional and brilliant musicals and this film version while slightly dated is on the same level with the very best of the stage versions done.
Carl Anderson and Ted Neely simple explode on screen as Judas and Jesus they make you weep when they sing and they make you beleive for just a minute in the divine if only because of the beauty and strength of their voices.
I can listen to this music and watch this movie for all time and it never grows old to me. Barry Dennen as Pilote also makes me shiver when he performs the 39 lashes sequence his voice is superb and I sob everytime because the emotion is so raw.
We were lucky enough to see the recent stage version with Mr. Dennen playing of all characters, Herod..what a treat he can still pull it off.
Having seen the Passion of Christ I can honestly say I have more emotional reaction to the story when viewing this film than I did that film.
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Summary: JEWISON'S VISION OF WEBBER AND RICE
Review: In approaching this classic musical, one must remember that Andrew Lloyd Webber and Tim Rice were not trying to do a work that was based on fact, and one that stuck to its source. JESUS CHRIST SUPERSTAR is modern man's way to ask Jesus if it was all worth it. While the libretto tends to "martyrize" Judas, the power of Christ still shines forth, and it's to the writers' credit that JESUS CHRIST SUPERSTAR in spite of all its modern juxtapositioning, remains a powerful and very spiritual experience. The late Carl Anderson certainly shines in his role as Judas, giving us a man who can't believe in the divinity of his friend; who is jealous of the attention lavished on him; and who uses his own weakness to blame Christ for his predestined role. Ted Neeley, though small in stature, has a powerful presence, and his "I Only Want to Say" still manages to bring a lump to my throat and a tear to my eye; Yvonne Elliman's soaring presence as the mystified Mary Magdalene is also a highlight, her love and devotion evidenced in every glance at the Christ; Barry Dennen is tremendous as Pontius Pilate, and even though his effeminancy is played up, his fear of deportation and the repercussions therein is brilliantly played. Joshua Motel as the plump Herod brings a small role to vivid life in the sadly mocking "Herod's Song."
Jewison uses modern motif, such as the tanks, soaring airplanes and the very modern temple yard sale, to bring an air of unreality and fantasy to the production.
The final scene where everyone boards the bus except Jesus is stunning in its irony and simplicity.
In years to come, people will look back and see what a truly marvelous movie this is. And what great music!!!
Rating: 
Summary: They know not what they do, right?
Review: You don't always need nails and a cross to crucify the Lord. You can do it with bad music, horrible acting, and incompetent filmmaking, all of it readily available in "Jesus Christ, Superstar." But while the blood of Jesus washed away the world's sins, this laughably bad 1973 film version of the "rock opera" that brought Andrew Lloyd Webber and Tim Rice to prominence will let you experience a peculiar kind of Hell. Except for a few songs, most notably the lovely "I Don't Know How to Love Him" performed by Yvonne Elliman, and "Everything's All Right" by someone whose name escapes me (or I never knew in the first place), the music is just plain awful! In that sense, it does resemble the typical Broadway show which, for the record, "Jesus Christ, Superstar" didn't become until long after the fact. Like The Who's "Tommy," it first saw life as a record album, a multi-disc monstrosity with just enough quality for one decent 45 RPM single. In fairness to Webber and Rice, even the worst song is better than the performances, none of which approach the quality typically found in the most amateurish dinner theater production of "State Fair." Ted Heely is the most ridiculous Jesus ever. If the real Messiah were anything like this, even the most sincere Christian might reconsider his faith. Neely is, to put it as politely as possible, pathetic, an uncharismatic hambone on a par with Tom Laughlin of "Billy Jack" fame. Except for the occasional stage revival of this mess, it's not surprising Neely hasn't been heard from since. The greatest mystery is what a brilliant filmmaker like Norman Jewison saw in this oddity. The man who gave us the superb "In the Heat of the Night," as well as "Fiddler on the Roof," hit rock bottom here. But I forgive him. Like walking on water, turning water into wine, and rising from the dead, turning a piece of crap like "Jesus Christ, Superstar" into a decent movie is not a task for mortal man. But only mortal man would be foolish enough to think it was worth doing in the first place. (...)
Rating:
Summary: Original and entertaining
Review: As a firm believer in the Lord Jesus, I wasn't sure whether to be offended or shocked by this film's presentation. However, I watched it again and listened more closely to the songs, and I must honestly say that there is nothing offensive about this film. Many of the songs are very entertaining, and the lyrics closely match the words found in the Gospels. Ted Neely has a powerful voice, and Carl Anderson (who, sadly, died in February '04) can really belt out a tune. Overall, I found this film refreshingly original and entertaining. In fact, if Jesus were to see this film Personally, I doubt He would be offended. In fact, I think He would smile (and perhaps blush) at being called a Superstar.
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