A brand-new production of the Andrew Lloyd Webber/Tim Rice classic musical, “Jesus Christ Superstar” tells the story of the last seven days in the life of Jesus. It describes his entry into Jerusalem, the enmity that his preaching and his popularity causes among the Jewish religious leaders, his betrayal by Judas, mocking contempt of Herod, and the trial in front of Pontius Pilate, who despite his sympathy towards Jesus as a person, bows to the demands of Caiaphas, the Chief Priest, and has him crucified.Before Andrew Lloyd Webber took over Broadway with his operatic productions and Tim Rice tossed in his lot with Disney’s animated musicals, they were the young turks of musical theater and their rock opera Jesus Christ Superstar was their calling card. Director Gale Edwards’s 1999 stage revival, which became the basis for this video production (also available on CD), takes the show out of ancient Jerusalem to an indeterminate mix of modern New York (complete with graffiti-scrawled walls and T-shirt garbed disciples) and timeless Rome. The grandly abstract sets, rainbow lighting, and striking costumes are more theater than cinema, but like the previous made-for-video Lloyd Webber-Rice production Joseph and the Amazing Technicolor Dreamcoat, the enormous soundstages give the director free reign to combine the mediums.
The setting folds fascism, intolerance, and revolution into a portrait out of time, robbing the play of its powerful historical grounding but injecting it with energy and insight. As Christ, Glenn Carter (who played the role in the 2000 Broadway revival) flashes his anger and rolls his eyes at Judas (Jerome Pradon) but cannot deny the truths of Judas’s fears: “Every word you say today gets twisted ’round some other way.” As Christ sees his cult of personality overtake his message and struggles with the fears of his sacrifice, he reaches within for faith and forgiveness, giving the show the spiritual dimension it so often lacks.
It’s an entertaining, thoughtful, and well-sung production. Edwards avoids the tepidity of Norman Jewison’s solemn 1973 film, driving forward with energetic editing and swooping cameras, and guided at all times by the dramatic, exhilarating score. –Sean Axmaker
Buy “Jesus Christ Superstar” For Only $9.97
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April 23, 2010
#1
THIS SAD MOVIE IS DANGAROUS IT IS A MOVIE THAT SEEMS TO BE A RELIGIOUS MOVIE BUT ALL THE WHILE TREATING CHRIST LIFE AS A SILLY MUSICAL STAY AWAY FROM THIS MOVIE
April 23, 2010
#2
For starters, this movie is not about Jesus. Well, not about that Jesus. The action takes place in a concrete desert of a former industrial town. My first guess was New York, but later they started to call it Jerusalem. The biggest attraction is a replica of Berlin Wall, at least it’s painted the same way. A gang holds the place. By some coincidence, the gang leader is called Jesus Christ and his lieutenants have names of apostles. Police raid makes us think that this should be a future as policemen are dressed like Darth Vader. One of the apostles has a tattoo of a cross on his forearm. Juda commits a suicide in the middle of the movie, and then continues to sing and comment for the rest of time. And, yes, animal right activists beware, there is a lot of black leaver, even female angels wear black leaver bikinis.
Clearly this gang is also a semi-religious sect, and the fathers of the town are worried about that. Head of the priests (Afro-American, like about a half of the gang) decides to arrest and execute the leader of the gang, while watching them on a surveillance cameras. However their first attempt (during sermon, I assume) fails because the crowd is waiving “schmeisers” (WWII German machine guns) and few AK-47s. When the leader of the gang gets traders from the Temple, the merchandize left includes working TVs, showing military airplanes and warships at their bloody work. I am not completely sure of the meaning of this scene. They probably meant that the world is bad and deadly. On another hand planes and ships were American, hence Christian, so it could be the other way around. Pilat is dressed like a Nazi general, probably, SS, and his refusal to crucify an innocent man makes him almost sympathetic.
Well, I wash my hands. Now it’s up to you to decide, if you really want to see this movie. Sapienti Sat. Dixi.
April 23, 2010
#3
Forgive them, Lord, for they know not what they do.
April 24, 2010
#4
A “remake” of an almost-as-bad 1973 movie. This version updates the story to a “modern” setting. Hmmm, and this was necessary to…? The fact that this version didn’t last long on B-Way should tell you all you need to know. Hey, maybe Brittney Spears should remake “Revolver” to bring it into a “Modern” setting.
Here’s my suggestion, buy the original 1970 JCS on CD. Sit back and LISTEN to a superb work and a credible (accurate? I have no idea) retelling of the last days of Christ. The ORIGINAL was fantastic. Both movie versions are sad, this latest one is beyond sad…
April 24, 2010
#5
Recently released in the US, after a year of waiting was the ‘revised’ Jesus Christ Superstar Production. Now, those of you who were lucky enough to see the revival on Broadway at the Ford Center, know what kind of a powerful, moving, disturbing and quite serious production it was. The critics ripped it to shreads…I saw it 8 times (including the first Preview and Opening Night…And…believe me, Mr. Andrew Lloyd Webber is a very, very ugly man)…so you figure it out. This new video, a combination of the stylish handiwork of director Gayle Edwards’ Broadway and European versions of JCS 2000. And if you did see the Broadway version…stick to your memories, because this video won’t help them at all.
Let me start by asking, is it offensive when I say, I couldn’t wait for Judas to hang himself?? Jerome Pradon (Judas) is an actor of very limited resources. Ok, let me be blunt…he can’t sing or act. How he got cast in this version, I don’t even think he knows. His singing voice makes you want to fast forward. Now, I’ll never forget my seventh time seeing JCS 2000 on Broadway. After the show, I turned to my boyfriend at the time, and said, “Isn’t that cute, Glenn Carter tried to act this time!” He should stick to singing. When he tries to act out emotion or anything else, it just spoils the illusion. He is a great Jesus, and projects Gethsemane quite well, but he is not the caliber star that should be playing Superstar. Mary…I’ll be nice…and skip over her very quickly. Pilate was depicted quite possibly the best I have ever seen him. Fred Johanson sings Pilate’s Dream with such emotion that he does bring himself to tears. It was quite moving. He played the character, always showing, that he did not want to crucify Jesus. He shows the constant struggle with the character. Pilate, as I’ve said over and over again, is the all-time Tragic Hero. And Mr. Johanson portrays this statement very well indeed. The Trial was not quite intense as on Broadway (By the time the lashed ended, I was a hysterical mess! I jumped every time Jesus was lashed!!
was it got the point across. Now, King Herod…what the hell was up with that?? I’m assuming Rik Mayall must be a big name somewhere, because he destroyed this part. The guy can’t sing to save his life, and added to the destruction of the video. And last but certainly not least…the High Priests. Caiaphus (played by Frederick B. Owens, as on Broadway) added the same spark and dark undertones to the part. Nobody beats Freddy! And Annas…quite interesting…the character was always around…like on Broadway…but a completely different physical appearance. If you were lucky enough to see the Broadway version of JCS 2000…And see Jason Pebworth (or his replacement for Judas, Tony Vincent), Glenn, Maya Days, Kevin Gray, Paul Kendal, Frederick and the absolutely amazing Ray Walker (as Annas)…then you were in for the real treat.
Overall…thumbs down…Between Cats, Joseph and now JCS…I’d hate to see what Sunset is going to turn out to be like…:-(