Jesus Christ Superstar (1973) User Reviews

Very good, if not quite a superstar, movie musical

[wainot · 8/10 · 27 May 2004]

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!

Radical Musical About Jesus Works Up to Now

[3xHCCH · 8/10 · 29 March 2013]

I held off watching Jesus Christ Superstar for the longest time. I could not understand how Jesus and the apostles could be portrayed as hippies, which I thought was disrespectful and irreverent. I tried many times to start watching the film but found it difficult to get through those radical opening sequences featuring more of Judas than Christ. However, when I finally did get through that first song number, I found myself quite engrossed in the way the story of Christ's Passion was told and enacted in rock songs by Andrew Lloyd Webber and Tim Rice. Yes, the sets and props were strangely anachronistic (like t-shirts, postcard racks and machine guns), but I guess that symbolizes the timelessness of the story.

The song "Gethsemane" was so vital, it is just breathtaking to hear. The lyrics capture the conflict within Jesus at that contemplative moment in the Garden perfectly. This song is Ted Neeley's high point in the whole film as Jesus Christ. Another song that moves me is "Could We Start Again Please." With a melody so simple and lyrics so bare, the emotional punch of this song is astounding. It moved me to tears, honestly, when I hear Yvonne Elliman (Mary Magdalene) and Philip Toubus (Simon Peter) sing those earnest words which echo our own sentiments with our own faults:

"I've been living to see you Dying to see you, but it shouldn't be like this This was unexpected, what do I do now? Could we start again please?

I think you've made your point now You've even gone a bit too far to get the message home Before it gets too frightening, we ought to call a halt So could we start again please?"

The Judas character plays a co-equal role in this interpretation and Carl Anderson so passionately portrays him. We see and hear a lot from him that was why this play was controversial back in the day. The words he sings vivify the conflicts within this disturbed man. Magdalene's love song "I Don't Know How to Love Him" takes on a different meaning when Judas sang it before his climactic suicide song. Talking about hanging, that scene was so chillingly and realistically shot.

Special mentions would be the odd but welcome comedy respite provided by Josh Mostel as King Herod, and the unusual contrast of the deep voice of Bob Bingham vis a vis the falsetto voice of Kurt Yagjihan, as the high priests Caiaphas and Annas. The 39 Lashes scene with Barry Dennen as Pontius Pilate was also very memorable.

Anachronisms aside, I enjoyed this film enormously

[TheLittleSongbird · 8/10 · 2 June 2013]

I've always loved Jesus Christ Superstar, and along with Phantom of the Opera and Joseph and the Amazing Technicolor Dreamcoat it ranks among the top 3 of Andrew Lloyd Webber's best musicals(well more like a rock-opera strictly speaking). My love for Jesus Christ Superstar was the main attraction into seeing this film, as well as the fact that it was directed by Norman Jewison, director of the brilliant Fiddler on the Roof. As a film, it's not quite as good but I did find myself enjoying the film enormously. I can understand why some mayn't like it so much, the costumes are not very appealing to look at all and the anachronistic touches like the students arriving to put on a show, Judas ducking jet fighters and the Army Tanks made it harder to properly decipher the period. However, it is also very easy to see why people love it. The desert setting is gorgeous and the camera work and editing were great, loved the colour in Herod's setting contrasting to the more purposefully drab moments of the latter part of the film. Lloyd Webber's score is brilliant and Tim Rice's lyrics are very witty, performed with gusto by the orchestra/band. The choreography is very spirited and dynamic, particularly in Superstar, and while the story has some fun moments like Herod's song- some might take offense but I think it's hilarious- and Superstar, and stirring moments like the Hosanna chorus, with I Don't Know How to Love Him, Gethesmane(especially powerful here) and Jesus' death scene it is also deeply moving. The closing shot concluded things beautifully. Jewison allows the performers to have fun and allows time to breathe for the more poignant moments to have their impact. The performances are terrific, a big shout-out to Carl Anderson as Judas, he has an amazing soulful voice that will lift your spirits every time you hear it, and he captures Judas' sorrow and anger with equal conviction. Ted Neeley's high notes have soaring freedom, and he brings a nobility and command to Jesus, while Yvonne Elliman's Mary is very moving. The Pontius Pilate of Barry Dennen is authoritative and troubled, Bob Bingham has a wonderfully booming bass voice that has a really chilling effect and Kurt Yaghjian is equally as menacing and sounds very comfortable in the falsetto range. Larry Marshall's Simon Zealotes is excellent, Joshua Mostel's Herod is hugely entertaining in the funniest moment of the film and the Peter of Paul Thomas shows loyalty, defiance and pathos with aplomb. On the whole, a very enjoyable film that may not rock as much as it could have done but not fully deserving of the flak it's gotten. 8/10 Bethany Cox.

Carl is the real KING.

[ian-r-baker · 9/10 · 5 September 2004]

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.

As a 12 year old growing up in Indiana......this movie opened my world and my mind to dancing, hippies and religion. I truly felt free for the first time in my life.

[vpup01 · 10/10 · 5 November 2006]

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.

My two cents...

[powasp · 12 July 2001]

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.

Hippie Rock Passion Play

[SnoopyStyle · 7/10 · 25 December 2019]

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.

A Masterpiece of Joy

[caspian1978 · 9/10 · 7 July 2004]

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.

Fun and Crazy

[onurwskix-52889 · 6/10 · 16 January 2021]

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.

Hated it then, love it now

[jdcarroll · 10/10 · 31 December 2006]

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 Milestone

[Dirt_Britland · 6/10 · 1 February 2006]

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.

Superstar Rocks!

[Seanerz · 10/10 · 21 November 2004]

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"

Superstar authenticity

[Fielga · 7/10 · 30 May 2012]

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.

Greatly over-rated!

[imnotbadjustcrazy · 2/10 · 21 January 2006]

When I read the other reviews, I was shocked by the positivity and lack of criticism, so I had to write this review, as it seems I'm the only person who's going to speak out against this insult to the original musical! I have to say, in its defence, that this was truly one of the FUNNIEST films I have ever seen. The flaw- it's not a comedy nor is it supposed to be remotely amusing, yet it had me and my family literally in stitches through out the film and when we looking back on it. The reason? The sheer ridiculousness of it. As a great lover of Musical Theatre and Andrew Lloyd Webber and especially of Jesus Christ Superstar, I was disgusted that Ted Neely had been cast as Jesus as he clearly hasn't the voice. True, he can hit the high notes, but that's all I can say. He doesn't sing them, he just about hits them with a squawk that would any dying parrot would be envious of. Gethsemane, Jesus prayer to God in the garden of Gethsemane just before his arrest, is one of the most beautiful songs ever to grace the stage. I do admit, it isn't an easy song to sing - for the musical among you, there's a top G in the song, which is very high and beyond most men, but still if he was cast as Jesus he HAS to be able to sing that song. And he does make some form of noise, although I'm not sure if singing would be the right word -Neely sounds like he's constantly short of breath and about to have an asthmatic attack. Even more annoying for me, especially because after you notice it you can't stop noticing it every time you see Jesus, is that Ted Neely has a slight outward turn in one of his eyes which makes him look rather comical - rather ruining the moment of extreme sombreness. As for King Herod - we do I start? I still laugh when I think of him, and to be fair, he is one of the more lighthearted characters, which is the way Lloyd Webber intended it when writing JCS. What he didn't intend, however, is that Herod be interpreted as flamboyantly camp at best (this is the only way I can describe it!). Josh Mostel plays the overweight, scantily clad and quite disgusting Herod who dances about with the fat wobbling and in tinted glasses like a well known 70s singer – not a pretty picture, although highly amusing and actually well acted. However the poor Neely gives Mostel nothing to play off. True, he is supposed to be light hearted, but the director, Norman Jewison seems to have gone too far here. As you might have guessed by now, Ted Neely isn't my favourite actor of all time, so imagine how I felt when I discovered that Neely directed the most ridiculous part of the whole film which completely ruins it. The scene is after Judas had betrayed Jesus, and is in the desert. Keep in mind that this is set in 4BC. Suddenly over the horizon appear 3 battle tanks, like you would associate with WWII! As if that isn't bad or ridiculous enough, 2 Fighter-Jet planes appear and chase Judas! What the heck is going on?! On top of all that, the costumes are dated, the special effects poor and the attempt to have it as a mix of 4BC and the 1970s really isn't working and just leaves the audience confused! To be fair there are positives. Carl Anderson is superb as Judas Iscariot, and really brings across a side of Judas that is often missed in the traditional telling of the story – not as the bad guy, but as someone doing what he thinks is best, and with a good soul, however he betrays Jesus because he believes that although he is a good man, he doesn't believe Jesus is the Messiah. Mary Magdalene is also impressive, if not a little different than the usual portrayal of her character. Also, the film still has all the music from the ALW show so is can't be that bad, even if some of the singers aren't up to scratch. The crucifixion is still moving and sombre, however it's disappointingly rather glossed over as unimportant, despite being the most relevant part of the film – if the crucifixion hadn't happened, there wouldn't be much point to the story. To conclude, maybe worth a one time watch if you fancy a laugh, but not one to be taken to seriously for either historical accuracy or fantastic voices. In my opinion, save your money and instead buy the 1996 London Recording of 'Jesus Christ Superstar'. You'll get much more out of listening to a masterfully sung version of the show (which the 1996 recording is) than watching this mediocre film with just-better-than-average singing and poor acting.

Yes...a good Musical

[troypmc · 7 December 2004]

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!

what a group of voices!

[didi-5 · 9/10 · 17 August 2003]

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.

Possibly one of the best movies ever

[dierregi · 10/10 · 13 December 2006]

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.

If you loved the music try the original oratorio.

[aandino3 · 7/10 · 9 March 2005]

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

Andrew Lloyd Webber's signature piece!

[Will_Scarlet · 10/10 · 22 January 2004]

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.

Eyes That See, Ears that Hear

[crosslit-34001 · 7/10 · 6 April 2018]

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.

Change your perception....

[zazoo-2 · 10/10 · 23 April 2000]

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!

7 out of 10...

[MrNefarious · 7/10 · 2 February 2004]

It appears to have been made by a group of people that were at Woodstock. It looks and feels quite comical. The sounds and songs of this musical are catchy. However, I find some strange things take place in this film. That aside it is alright,and was worth a watch. (7 out of 10)

Be aware: NOT a Christian work

[Qanqor · 9/10 · 17 June 2009]

Many people get the wrong idea about Jesus Christ Superstar. It is NOT a Christian work. It is NOT a rah-rah Jesus piece. It is NOT in any way attempting to be a simple retelling of the biblical story. If that's what you're looking for, you're looking in the wrong place.

What it is, really, is a very agnostic piece. Not atheist, but agnostic. It is asking questions, not providing answers. And the questions are those of a modern person looking back on the Jesus story and wondering "What happened here?"

The whole question of the divinity of Jesus is kept delicately ambivalent throughout. On the one hand, those closest to him, those who know him best-- Mary Magdalene and Judas-- repeatedly assert that he's "just a man". Herod is completely willing to be won over to Jesus if he'll merely perform a miracle or two, but Jesus' only reply is seemingly impotent silence. Similarly, he refuses to perform any miracles to help the beggars ("The Temple"). Indeed, we don't see him perform a single miracle throughout the show.

On the other hand, many are firmly convinced that he *can* perform miracles; where did they get that idea from? And no explanation is offered for the way that Jesus accurately foretells Peter's triple denial. Most interesting is the song "Gethsemane", where it certainly *feels* like Jesus is talking to God (or is it just a delusion?).

But if Jesus *is* divine, does the story make sense? I think this is hard for believers to see, but to those who aren't believing Christians, the Jesus story is... shall we say, curious. And so we have Jesus Christ Superstar, a work from the perspective not of a believer, not of a *dis*believer, but from a questioner. From someone looking at it all and trying to make sense of it.

And so, at the very climax of the story, when Jesus is sentenced to death, the whole story freezes, and the authors step out from behind the curtain to speak directly to us, through the voice of Judas, speaking to us from beyond the grave, speaking to us today, in the modern present. Speaking to us to ask the questions at the root of this opera, as if to say "Ok, here was the story, what do you make of it?" And so he sings the key lyrics, those that embody the entire meaning and message of the production:

Every time I look at you, I don't understand why you let the things you did get so out of hand. You'd've managed better if you'd had it planned; why'd you choose such a backwards time and such a strange land? If you'd come today you would have reached a whole nation. Israel in 4 BC had no mass communication. I only want to know: Jesus Christ, who are you? What have you sacrificed? Do you think you're what they say you are?

This is it. This is the core. THIS is what the show is about. Not a glorification of Jesus but an inquiry into him. If you're a person of faith, there is enough there for you, yes. But if you are an unbeliever (as am I), there's something there for you too. And this is a big reason that Jesus Christ Superstar has always been a personal favorite.

And oh yeah, about the movie itself... :)

Well, I wrote an extensive review of the film itself, but sadly this thing is complaining about a 1000 word limit, so I just deleted it all. So in a nutshell, there are weak points and strong points. Weak points: Neely looks the part of Jesus but can't sing at all, Caiaphas on the album has a much better bass voice, the instrumental tracks are mixed way too soft relative to the vocals, and the lyrics have been changed in places to water down the ambivalence and avoid offending Christians ("HEAL YOURSELVES!"). Strong points: some added verses and two extra songs that aren't on the original album ("Oh this is new! Respect for Caesar!"), the visuals, the mixing in of modern markers to help tell the ancient story. And I leave my original final paragraph:

And finally, there's the closing shot, of Carl Anderson (now no longer Judas), looking back at the set that they are leaving, and peering at the still-standing cross. His searching, questioning expression seems to ask "What happened there?" and beautifully summarizes the whole opera. Because Jesus Christ Superstar is about questions, not answers.

Walk like a woman and he wears a bra!

[JoeytheBrit · 6/10 · 29 September 2005]

Fnaar, fnaar.

Oh, come on - someone was bound to use it as their title soon or later

Actually Ted Neeley, who plays Jesus in this film version of the Rice-Lloyd-Webber stage play, walks more like a slightly grumpy docker from Liverpool, but other than that he certainly looks the part. Someone here has complained that he looks a little too lightweight to play Jesus, which seems a strange thing to say. Throughout history, Jesus has never been portrayed as a heavyweight, and I honestly can't imagine a truer image than that of Neeley in his simple white robe and flowing locks. I have to admit, though, that I never quite imagined Jesus' singing voice careening off into tortured falsetto quite so often.

This is a film that was very much of its time. Flared trousers, hippy chicks, tank tops, etc., they're all here. There's nothing wrong with that - in fact, the film probably looks less dated now than it would have done ten years ago, if it weren't for that horrible overacting so typical of filmed stage musicals of that era. No doubt it was all extremely radical back in the early 70s, but today you're just left with a vague sense of embarrassment about what your parents used to rave over. The songs are better than the dance numbers - too often Jesus' disciples look like a mixed-sex version of Flick Colby's Pan's People - and that's where the makers have really been quite clever. We're not actually seeing an anachronistic depiction of Christ's last days - we're watching a bunch of contemporaneous kids staging a show in Jerusalem, complete with tanks and aeroplanes and armalite rifles. This aspect of the film works quite well - it's the stunning locations that paradoxically weaken the power of the story. You can't help feeling how much more powerful it would be up close on a stage in some theatre than it is in the vast spaces of the Israeli desert. It's a strangely inconsistent decision on the part of the filmmakers when you think about it - they deliberately adopt contemporary fashions and technology at odds with the era of the story they are telling, yet choose to tell the story in what are presumed to be the authentic locations.

The performances are OK, but they're nothing special. The two male leads have spent much of the rest of their careers playing the same roles in revivals and roadshows, which speaks volumes. Carl Anderson as Judas Iscariot, while perhaps a bold casting decision, overacts mercilessly and gives the impression that he is actively trying to steal the show even though he's given all the best lines anyway. Only Yvonne Elliman, in the poorly drawn role of Mary Magdalene, really impresses. She's a talented singer, and makes the most of 'I Don't Know How to Love Him,' the show's second most famous number.

This is one of those films: if you're a fan you're a fan, and you probably hit the 'No' button at the bottom of this review before you even got to this part. If, like me, Jesus Christ Superstar is a movie that you've heard of but that's it, then you probably won't find much to interest you, especially if you're under thirty-five. There are some beautiful images, and some real show-stopping numbers but, at the end of the day, it's just a bunch of kids in the desert, singing songs and pretending to be religious.

Can You Please Stop Singing? We're Trying to Have the Last Supper Here.....

[evanston_dad · 5/10 · 8 June 2007]

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+