“Jesus Christ Superstar” is a rock-opera about Christ’s last days before being crucified. Like “The Passion” except tasteful and with dance numbers.
It is one of the most overlooked musicals of all time. Even when looked at, it is often underrated.
A shame, for if the film was more popular, a terrible remake could be made for me to obsessively critique (think John Travolta in “Hairspray” or “Little Shop” – the cartoon spinoff of “Little Shop of Horrors” that ran alongside “Attack of the Killer Tomatoes” back in the ’90s).
I will have to settle with obsessively campaigning the original “Jesus Christ Superstar” instead.
It was originally an album, then Broadway musical and then movie. The focus of this blog will be on the film and soundtrack since this is my favorite constituent of the Jesus Christ Superstar experience.
Carl Anderson plays Judas Iscariot. His performance brings you down to your knees — not necessarily in a religious context. Not necessarily in a sexual one either. Although, both are possibilities. He shines on the opening song, “Heaven on their Minds”.
Yvonne Elliman, Eric Clapton’s backing vocalist at the time, plays Mary Magdeline. Her voice is heavenly, pardon the Christian illusion. She lulls the viewer in with “Everything’s Alright”.
The point is that every member of the cast is vital. Even with certain minor characters singing one or two lines, each one could match a main character from another musical.
Bonus: The Supremes, as in Dianna Ross and The Supremes, make a guest appearance on a song.
Best of all, every word in “Jesus Christ Superstar” is sung. Sadly, this is not the case in most musicals. The lack of corny dialogue between musical montages makes the story that much more convincing.
Many scenes are obviously outdated and just plain hilarious, but under the surface is the truth, “This is the real thing — this is the best musical ever made”.
The corny costumes and cheap sets further engage the audience into the musical, allowing an insider’s view into the making of the film while experiencing the finished product. It is a feeling of belonging, a part of a whole, as if a member of the cast. Even an atheist can feel that kind of religion.
In fact, the beginning of the movie starts with all the actors driving to the filming destination in a bus. The overture plays while they get dressed and prepped. Anderson, dressed as Judas, strays from the group and everyone takes positions.
It is ahead of it’s time. It is classic. A revamped opera with the clash of old and new, electric guitars and a driving drumset intertwining with horns, strings and other classical instruments.
The hooks in the music are marvelous, the acting superb — bordering on eye-wrenching and ridiculous.
Sure, it has a small cult following, but this thing should be bordering “Rocky Horror Picture Show” in number of rabid fans. Planned activities during viewing, like turning water into wine instead of throwing toast, should be all the rage.
I am astounded when I show the movie to someone and they are not blown away. I lose hope in humanity when a viewer just shrugs and complains about the “slow parts”.
The crucifixion scene is much better then Mel Gibson and a dozen buckets of fake blood could ever accomplish. Tasteful yet tremendous. No sick pleasure in seeing an exaggerated, medieval painting with torn Jesus, crucifix-inspired torture.
The film is full of interweaving musical lines, re-occurring lyrical themes and massive riffs. Genius. Not borderline or on the brink — just genius. A perfect combination of a free spirited hippy cast, directing by Norman Jewison and a musical partnership between Tim Rice and Andrew Lloyd Webber.
Religious or not, this film is God.
Posted by shawandmusic 