User reviews

Although I have been aware of this musical, seemingly forever, I just very recently saw the whole movie on dvd. Unfortunately, while I was acquainted with many of the songs before, I had never really seen it in its entirety before, and I'm not sure why. Also, I've never seen it as a live stage show, be it on Broadway, in London or down the street at the local high school ...

So, then, I can only rate it as a singular movie experience, not comparing it with the Broadway or London stagings. Also, being Jewish and never really studying the life and crucifixion of Jesus, I don't have any strong or pre-conceived spiritual ties to the story.

For me, then, this is a cleverly written and very well-performed musical, that mixes irreverence, time juxtapositions and genuine emotions of sadness and wistfulness. I'm not sure that the movie enhances the great musical; in other words, now that I've seen the movie, I regularly listen to the cd of the musical, and enjoy both about equally. For me, Carl Anderson, as Judas, is the standout, but Ted Neeley does bring an angelic quality to the title character. all of the other supporting roles, including Yvonne Elliman, are done well.

I rate it 8/10 for its excellent music, good staging and for what seems like a faithful film-ization of the original..worth watching for sure!

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.

(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)

My mom (a hard-core Lutheran) thought this movie, "Jesus Christ Superstar" would deepen our faith in religion. She took me (age 12), my brother (age 14), my sister (age 11) and several neighborhood kids all the way across town where our minds proceeded to be "blown" in the most amazing, positive way! Those were the days when you could stay and watch the movie over and over and over (without buying another ticket). I walked out of the Georgetown Theatre in Indianapolis, Indiana suddenly knowing that somewhere in this big bleak world, I may actually fit in for once. All the previously-boring religious training I'd endured (parochial school) suddenly made some kind of sense and my idea of who and what God is, was and could be was changed forever! I still watch this film when I feel down and out and always feel spiritually renewed. The dancing, costumes, singing, story, cinematography, not to mention the hippie-themed visual fun-fest continues to thrill and amaze me! I give it two thumbs way way way up! P.S. I watched it three times that August day back in 1973......best time I EVER invested.

I saw this film for the first time in the mid 70's at a cinema on a school organised outing, I remember being peeved as it was being shown on TV for the first time the same evening. I was aware of one or two of the songs but I had never heard the original concept album before hand so I really had no idea what to expect. I was transfixed from the Overture to the End Titles and probably have not had a more moving experience watching a film since. I have been a devoted fan of this film now for over 25 years and still find the occasional viewing moving. The film was unique, the first Rock Opera given the Big Screen treatment and this is still in my opinion the best of its genre. Of course the Music and Lyrics are the fulcrum of the film and the numerous album recordings are still popular now because the songs are so unforgettable but the performances of all the principle characters in this original film version give this interpretation a dynamic edge. All the cast probably give their definitive performances but without any doubt Carl Anderson as Judas is the real KING. Rest In Peace. For all you long term fans like me get the new Region 1 DVD special edition with improved sound and picture quality and extras especially the commentary with Norman and Ted- you'll cry your heart out. Thanks Carl, I will never forget the impact your performance has made on my life. Thank you ALW, Tim Rice and Norman Jewison for an unforgettable Spiritual experience.

I've heard much criticism of this film over many years, and the most annoying criticism is that it didn't have the vitality of the stage productions back "in the day". There isn't much many of us can do about that, though I did see a road production of it about 7 or 8 years ago.

The most interesting thing about this film is that it was set in "modern" times, rather than in biblical times. Roman soldiers wearing shiny helmets, and carrying machine guns is a real attention grabber. The ruins used in the film added another fascinating aspect to the production. In short, the anachronistic approach in the visuals, the lyrics, and the music itself make this a genuinely unique, and clever film.

I thought all the acting, singing, and dancing was great, and still appears to be rather fresh and modern. The lyrics were the most memorable of any movie I've ever seen. There were many of us that could quickly memorize the entire opera from listening to the soundtrack (no videos back then), and have much fun "play acting" ourselves.

The use of Judas as a primary character was probably the single most important aspect of the film. One has to wonder how Judas became one of the inner circle of disciples if he was such an evil crud to begin with. In church he is simply mentioned as being a traitor. The film/musical asks us to think more on this individual, and speculate as to his true nature as a human being. The only other person I know of that attempted to do this was Taylor Caldwell in her novel "I Judas". The point that the crucifixion/resurrection hinged on the betrayal of Judas, should make any Christian wonder if God actually worked through him, and that he wasn't actually "damned for all time."

People seem to be offended by the light-hearted (and hysterically funny!) "King Herod's Song." What does the Bible say about this meeting? Certainly it doesn't say that this was an amicable meeting, and indeed, I seem to remember Jesus being beaten on the palace grounds. The look on Neely's face throughout the Herod song-and-dance is one of seriousness that belies the true nature of what was going on in this scene. This served to remind the viewer that this wasn't sheer levity, and held the scene together in its proper context until it ran full circle with Herod "spazzing" and showing rabid, rather than merely sarcastic hatred for Christ at the end. This was sheer genius and master film craft in my book. I don't think Jesus' expression would come out as well in the stage version. The reservations Pilate had about authorizing the crucifixion seem to come out in the Bible as well. So-called Christians hold Pilate responsible, though there was probably many political things going on that are only vaguely alluded to in the Bible. Non-biblical tradition says that he and his wife, Claudia Procula, eventually converted to Christianity themselves. Who knows?

My least-favorite parts: "I Don't Know How to Love Him" reminds me a lot of "As Long as He Needs Me" in Oliver!. Both songs are plodding, and brings each film to a screeching halt. I believe that this was actually intended to be a pop song, but was thrown in when Webber and Rice were composing the opera. Still, Judas singing this through his tears towards the end of the film was very chilling. "Hosanna, Hosanna" I also find to be rather trite...still...the last stanza never fails to give me goose bumps when the crowd asks if Christ will die for them. Simon Zealot's prolonged screaming (and off key/beat) never fails to annoy me...then again, he was a rebellious zealot after all. The "falling down push up" move in this dance sequence bugs me, too. Another part that bothers me is that suddenly it was Pilate's dream, rather than his wife's as stated in the bible. I guess they did this to narrow the canvas (simplify the number of key characters). But, what a beautiful song! And, I thought the fact that nobody in the cast looked to be much over 25 was kind of weird.

My favorite parts: Caiphas' baritone and Annas' falsetto counterpoint. "Too Much Heaven on Their Minds." The guy with the froggy voice heckling Christ as he's shuffled between Herod and Pilate. The gorgeous girl in the purple shirt (dancer in the Zealot scene)...WHO IS SHE????? Any scene with Judas in it. The montage of crucifixion scenes. The great guitar (all the instrumentation for that matter), and something I wish they had MUCH more of in the movie, that incredible electric piano. I would buy just the instrumental track if it was available.

Jesus' perfect sacrifice is approached from a controversial viewpoint. Judas Iscariot sought to follow Jesus. But he fell short in the long run. The mangerie that follow him demonstrate that same seeing without seeing and hearing without hearing when in the final seen they board a bus one by one. They behold the Cross, but don't grasp the Resurrection.

Mary Magdelene is beautifully portrayed by a uniquely talented vocalist. The scene wherein Pontius Pilate actually has Jesus' Blood on his hands is a powerful device. Although it is not, of course, not biblically accurate.

I saw the stage version as a teenager and memorized the entire record during the summer of 1971. I don't remember when I first saw the movie, but I hated it. I didn't think that the Broadway show translated well at all. I am watching it right now, however, and I finally get it. It is a marvelous piece of work.

I am appalled at the people who have criticized it for not being accurate to the New Testament, therefore, not relevant. Quite the contrary, I border on agnosticism and seeing this movie for the first time in 20 years has been a spiritual experience for me. It still speaks to me after 35 years.

I also can't believe people who dismiss the music in and of itself. Are you crazy?

A group of young people arrive on a bus to a remote desert location. They unpack props, luggage, and a giant cross. Norman Jewison directs this musical based on the rock opera. There is limited dialogue. It's the biblical passion play with a modern twist. It has the iconic titular song. My favorite is "Everything's Alright". The most emotionally powerful scene is the whipping which is often the case in a passion play. The oddity is the blonde-haired, blue eyed Jesus with Judas played by one of few black main actors. Obviously, Jewison is not doing this deliberately. It is something overlooked back in the day and I can't subtract points in good faith. The two leads are solid performers and the cast is competent. It's an interesting interpretation.

Carl Anderson's hope of being immortal rested on the shoulders of his perfect performance as Judas in Jesus Christ Superstar. Even though the Academy Awards forgot to list him as one of the lost actors of 2003, Carl Anderson will forever be alive and remembered as long as this movie is around. More than 30 years have pasted and it is still breath taking in more ways than one. No matter what you believe, the images, music, and the passion of this movie are powerful. Anderson was content knowing that he lived long enough to see Jesus Christ Superstar become a masterpiece in the eyes of the world. What he didn't know was it was a masterpiece the day it premiered back in 1973.

I'm reviewing this from it's place as a piece of musical theater brought to film, not from a historical or Biblical perspective.

In doing so, I thought it was very well done. It's a creation of the 70's and everything in this movie is reflective of that. Some of the performers did compromise a bit of their vocal talent for passionate acting and some compromised passionate acting to show off their vocal talents, but I thought it managed to balance out and make for an enjoyable film experience.

Needless to say, the music is wonderful, the lyrics timeless, it's doubtlessly retro but it's a good kind of retro.

Speaking for the younger generation, I've never seen anything like it. This movie hit theaters 6 years before I was born and I only just saw it now in Nov. 2004. and I was so moved that I had to comment. Visually it was psychedelic, and the editing matches the music masterfully.

The music rocks! Carl Anderson is beyond amazing as Judas, and ALL of the performances are really magnetic. I love singing along with Annas, Jesus, and Kiafass. I mostly listen to KoRn and Rap, so I never expected to remember (rock opera) lyrics and run around performing them. The feeling I got when 1st "experiencing" the movie was trippy. Similar to a live concert. The movie is outstanding and in my opinion will last for generations and generations. It speaks to a part of my soul and spirit.It says "right on" "rock on"

This musical is pretty good and ahead of its time - I am not shocked many Christians and Muslims protest it today - and that's the best thing about it.

It is at times weird mixing Rock and modern weapons and Tanks in Jesus' time but hey this is art.

Mr Anderson with a particularly brilliant performance as Judas, where the character is giving an entire different perspective - as a hero.

I like the music and the entire twist in the Jesus story.

Jesus Christ Superstar was an excellent movie and an excellent play. I first heard the soundtrack and then saw the movie, and the movie definitely fills in all of the blanks. I was confused in the beginning, when they all rode up in a bus, but I later caught on. Other than that the movie was great, the voices were great, (especially Judas, he really added anger and sorrow to his part) and the setting was perfect. I found it humorous when there were the anachronisms such as grenades and guns at the market. This was a great movie and I will watch it again and again. I am normally skeptical of musicals but I will always hold this close to my heart. This movie should be seen by anyone, and everyone. Peace!

The Lloyd-Webber and Rice musical comes to the screen, and is nothing like the stage show at all. The deserts are real, although the back story is that this is a theatre company, putting on a production in real locations.

The cast are largely session singers and unknowns - Ted Neeley, delicate and high-voiced as Jesus (particularly superb in `Gethsemane'); Carl Anderson, black and doe-eyed as Judas with hot soul vocals, Barry Dennen as Pilate, and Yvonne Elliman as Magdelene with her big number `I Don't Know How To Love Him'.

One loss for those who know the stage version is being removed from the crucifixion preamble, when the ghost of Judas sings `Superstar' - this was all video camera projection in the theatre, while in the movie we are detached observers. But at other times we get uncomfortably close. And the songs survive the transportation to a more realistic setting (except the added `Could We Start Again, Please?' which sounds rather too much like the Coca-Cola theme for comfort).

Best scenes? The one in the temple; Hosanna; and the Pharisees tapping on their scaffolding perches like crows.

Allegedly, this movie was considered highly controversial more than 30 years ago. Luckily for us, those days are over and we can appreciate and admire it for the beautiful photography, great interpreters and fantastic songs. Even after all these years, "Jesus Christ Superstar" has not aged a bit (compared, for instance to "Hair"). From the first frame, shot like the rest of the movie in beautiful, desert landscapes of Israel, the whole film moves on without a dull moment. I loved the idea of having the performing artists arriving in a bus; it conveys a message about not taking the film too seriously. Each song is performed in a different setting: barren hills for Judas singing about his worries; a surreal cave for a chorus number; desert at night for Mary Magdalene singing about her love. Each setting is just about perfectly suggestive. Among the greatest moments: the dance scene, with a few brilliant freeze-frames, Herod song and, of course the title song, performed by an already-deceased Judas. Above all, there is a feeling of youthful energy that pervades the movie so much that one may even forget about the sadness of the story. If you do not particularly like musicals, I would recommend this one as probably the only one worth seeing.

This morning I stole some time away from my 3 kids and my spouse, curled up on my bed and enjoyed one of my Christmas presents, the special edition version of Superstar. First I watched the interview with Tim Rice. Wonderful. Interesting, intelligent, thoughtful... I'll watch it again, soon.

And then I watched the movie with the commentary by Jewison and Ted Neely. When I finished it, I wept. Very moving stuff. Apparently Carl Anderson (the actor who plays Judas Iscariot) lost it in an accident, overturning his car on a canyon road above Sunset Boulevard in Hollywood after his brakes failed and he collided with a sculpture of a really big donut, completely destroying it. Anderson was not saved because he wasn't wearing his seat-belt, so the wound of his loss was still pretty fresh...

I must point out that MOST NORMAL people will not react the way I did, so don't avoid it just because you think it will be a downer. In regards to JCSuperstar, Norman Jewison and his world-renowned troupe perform the classic story of "the Assumption" - Jesus Christ Superstar.

With talented female singer Yvonne Elliman as his Mary Magdalene, Neeley slips into Jesus like a piece of cake. Narrated gently by Lloyd Bridges, this expertly-staged version of "the Bible" boasts lavish production values, beautiful costumes, huge backdrops, and actual living, breathing livestock.

The singing is very good, with the two male singers as the deciples especially adept at character-singing. Neeley makes for a charming hero; the scene where he is dancing with the broom is priceless; as is the scene with the Judas at the Last Supper.

You must see this all-singing version of Jesus Christ SUPERSTAR.

From Sony Wonder / Dorothy Hamill International.

This film represents all that Andrew Lloyd Webber is capable of: taking an old and complex subject and using a stellar rock score to look at it from a modern perspective. How strange it is that the most powerful epic of Christ's life should turn out to be this rock opera. This is probably because the main characters are expressed in modern terms of thinking. The best aspect of this film may be its portrayal of Judas Iscariot. Many films have tried to find a reason why Judas betrayed his master and mentor for thirty pieces of silver. However, all of them have been pretty much making up their own stories: Judas wanted to get Jesus

to use his powers against the Romans, Judas wanted to save his family. All

these have been just very big guesses. However, this film is probably the

closest to the truth about Judas. His reason is a more psychological one. He is simply worried that Jesus' teachings will get him arrested by the Romans, and that they will be turned into propaganda, like they are today. He is also just doubtful that Jesus is the Messiah (wouldn't you be if someone told you?) Jesus himself is portrayed as a dedicated spiritual leader, and his followers are looked at largely from his and Judas' perspective. The scene with Simon Zealotes, with followers throwing themselves at Jesus' feet in the dust is meant to make them look almost pathetically worshipping this man. To Jesus, his own Apostles are like children, pestering him about what his plans are for the future. Then, of course, there is the film's portrayal of Mary Magdalene as Jesus' lover. As she rubs ointment on Jesus' feet, you can sense the deep passion moving between

them. Jesus is human, and must, therefore, love. The priests and pharisees are shown as worried about Jesus' influence, fearing it will turn into a revolution, and Pontius Pilate is shown as a faithful politician, trying to do what is right, but pulled away from it by the people demanding Jesus' death. Just the title of this movie is enough to put some people away from it. But the title makes Jesus more modern, because, probably to people at the time, Jesus

seemed like just a passing fad. Maybe this was what Jesus thought too. In this respect, Jesus may have had doubts about whether he could really make any

difference, and if he would be remembered, or if his followers were really just hungry for the next big thing. The film's setting in the Israeli ruins gives the film an almost surreal look, which is furthered by the design of the film, a stark mixture of ancient and modern, which is so well done it is sometimes hard to tell where one ends and the other begins. This serves to point out the similarities between then and now. The film's greatest point moves through the score and the cast. Carl Anderson makes Judas almost unplayable by anyone else. Ted Neeley, while his voice

may not be perfect, has an amazing delivery, and brings new depth to Jesus

with his rendition of "Gethsemane." Yvonne Elliman is remarkably soulful as

Mary Magdalene, and Bob Bingham's low, gravelly bass voice cuts chillingly

through the more serious scenes, helped along by Kurt Yahjigan's falsetto as

Annas. Barry Dennen is a remarkable Pilate, and Josh Mostel makes King

Herod, the Jewish puppet ruler, look remarkably petty and foolish, yet funny in his ragtime burlesque style song. The film also contains Andrew Lloyd Webber's richest score, especially at the end, bringing out the suffering of Jesus. The sound distorts the soldiers laughter, mixing with the vultures crying, and the cross creaking, the hammer pounding in the nails, and the rattle of dice as they gamble for Jesus' clothes, and the sobbing of Mary Magdalene. Jesus voice

remains normal, and his death ends the film, making this, in my opinion, the

most powerful and moving and maybe most accurate version of the Passion.

Jesus Christ Superstar is a rock opera written by Andrew Lloyd Webber and Tim Rice in the early 1970s, and this is a movie version. I saw the original London run of the show, as a child, and it made a huge impression on me. Some reviewers have questioned why Jesus is portrayed as human, but the point of this opera is to examine the "superstar" status of Jesus in his time, and the effect that this had upon his followers, the Jewish priests and the Romans. It deals with the phenomenon of Jesus from every angle, and it works. Musically, it stands up just as well as it did in the 70s, and it still packs a punch. It shows the reality of how the political threat posed by the Jesus movement was dealt with, and suggests a reason for the Crucifixion. There are many historical accounts of Jesus's life, based upon the Bible. This libretto and screenplay are brave enough to look at it from a human angle, and it spoke to me as a child. I understood for the first time the reality of Jesus's life as a man and how he suffered, as a man. It's value is its originality. Probably one of the best things Lloyd Webber has ever done, and the wit and wisdom of Tim Rice is always valuable. Give it a chance, even if you are a Christian.

I was brought up Catholic and was taught that Jesus was first and foremost..... "GOD". Little was ever mentioned about his human nature. He was a God so far above me that as a child, I only knew to fear him, the omnipotent One. This movie's greatest accomplishment is to show the "human" side of Christ. It creates an atmosphere that allows you, if you try, to suspend what you think you know to be true now, and imagine yourself living with Christ "the man" BEFORE he became known as God's "only begotten Son".

Jesus was a man. He had friends/followers, he had women companions, he got tired feet, got hungry and had to go to sleep at night, he was angered and he was doubtful, If you deny any of this you are denying the true human nature of Jesus. Understanding this is not sacrilegious.

The questions that are asked in the film such as "Jesus did you expect it to go this far?" "Jesus, do you believe you are who they say you are?" are questions that seem foolish to believers today, but for the people who knew him personally he WAS "just a man". He never claimed to be GOD. It was only after his death that the gospel writers deified him.

The garden of Gethsemane scene is one of the most powerful scenes ever put to film. It is here that we see the true "humanness" of Jesus. His words of doubt (an idea taken from the Gospel of John) clearly substantiate Christ's humanness and his doubts about what was to befall him. In the movie Jesus asks God to tell him "Why?" he must die. It is very moving when seen through the eyes of Jesus the man. For me that was a life changing moment and it brought me to greater understanding of the historical Jesus. I was able to conceive of, for the first time, Jesus the man. I also realized for the first time that Jesus DID know what it is like to be human. I felt closer to him at that moment than ever before. The lyrics also raise some interesting questions.like "Do we get too wrapped up in the man and not the message?" This would seem true about all the founders of the world's great religions. (They can't all be right) "Will there always be poor and suffering people?" "How DO we love such a man?"

I think all of the performances were outstanding. I think it has the most powerful musical lyrics ever written and a musical score that fits the drama to a tee. For those people who criticize the performances, remember this was never meant to be a movie in the "MOVIE" sense of the word. It was a rock opera stage production, put on film with expanded scenery (and what a perfect setting it was) in order to bring the historical perception of Jesus into even clearer view. Some people think that calling Jesus Christ a Superstar is sacrilegious. Well, I can't think of anyone who is more of a superstar in the role of a religious leader than Jesus. The people who think it is sacrilegious to put the bible to rock music, well, it was the music for the time. Any method that awakens an interest in Jesus Christ, as a historical person or as God, cannot be bad.

Jesus Christ Superstar reclaimed the love for Jesus from many teens that were my age at the time, and had fallen away from religion. I think the movie still carries that power if watched from the correct perspective. Anyone who thinks this movie is campy.....Just isn't getting it!

The film was good, the show was better, but the music in the original oratorio was and still is the best version of Jesus Christ Superstar ever done . The voices are all different except for Yvonne Elliman, and the music was composed, and directed by Andrew Lloyd Weber. The copyright on the piece is dated 1970 long before it was played or filmed. Judas Escariot got top billing and was sung by Murray Head, who really owned the character. Jesus Christ was sung by Ian Gilliam (of Deep Purple). The music CD is still around and is well worth the money especially if you are fond of solid rock performances.

aandino3

Can anyone imagine the "Pitch Meeting" of Webber and Rice saying, "We want to make a Rock Opera about the ministry and death of Jesus Christ." After the execs were revived with ammonia vials and cold compresses, the idea was executed perfectly. Not only was it an amazing success, but a classic for all generations. While many feel it is blasphemous, I know a significant number of people who became Christ following Christians as a result of the album, play, and even the movie.

NOW this review is about the movie. How Jewison was not able to cobble a few million together for this is a mystery considering how much profit was seen w/ stage production. But, considering the lack of funds, the movie hits really hard. It kinda incorporates all peoples from all times, i.e. The Roman soldiers who look like construction workers.

Virtually all actors did an exceptional job. Carl Anderson was stellar in his role of Judas. Not only did his voice carry the power and passion of the part, but his acting was equally superb. The only fault I find is in the overacting of the actor who played Pontius Pilate.

This is one of those albums and movies I must watch during Christmas and Easter along with Jesus of Nazareth and the likes. This movie is a blessing imho.

Andrew Llod Webber's kitchsy musical about the last days of Christ is given a rather limp screen treatment by director Norman Jewison, who never found a story he couldn't pound the life out of.

One doesn't watch ALW musicals for their dramatic depth in the first place, so it was a mistake to dilute whatever dramatic significance there was to this story by using a framing device showing a group of hippies arrive in the desert to put on a show about the last days of Christ. Was this a Hollywood capitulation to the controversy that stormed around the musical's Broadway opening? Probably, but one wishes the filmmakers had had the balls to stick to their guns.

What one DOES watch ALW musicals for is the music, and "Jesus Christ Superstar" boasts one of his best scores. It sounds hopelessly dated here, but I kind of like the twangy 70s sound; it fits the material. A handful of unknowns star, and none of them has much screen presence. However, I did have the opportunity to see a stage version of this not so long ago in Chicago that starred the film Jesus and Judas, Ted Neely and Carl Lewis, along with Irene Carra as Mary Magdalene and former Styx lead singer Dennis DeYoung as Pontius Pilate, and it was one of the best stage shows I've ever seen.

Grade: C