In 1970 a concept album appeared containing a rock opera based on the final days of the life of Jesus Christ, written by Andrew Lloyd Webber and Tim Rice. It was their second musical together following the production for schools of Joseph and the Amazing Technicolor Dreamcoat. Cast as Jesus was Deep Purple’s vocalist, Ian Gillan, with actor/singer Murray Head portraying Judas Iscariot.
It came to Broadway as a fully-fledged stage show in 1971, with Jeff Fenholt as Jesus and Ben Vereen as Judas, with a British production following in 1972 featuring Paul Nicholas as Jesus and Stephen Tate as Judas. The interesting thing about the Broadway production was that the actors who eventually took the lead roles in the film version were understudies for the roles of Jesus and Judas (Ted Neeley, and Carl Anderson, who eventually took over the role of Judas when Ben Vereen fell ill).
Fast forward a year to 1973, and the film version. The stage show had led to many protests from religious groups who felt that the treatment of Jesus as a ‘superstar’ was offensive – however, in following the story of Christ from the Bible through key scenes like the Temple, the beggars, and of course, trial and Crucifixion, the story was fairly reverent, using contemporary rock rhythms to put its message across. It was more earthy and less of its time than Godspell, which was filmed around the same time, and which covered a wider story of Jesus choosing his disciples and eventually dying on the Cross.
The film version of Jesus Christ Superstar was directed by Norman Jewison, and retained some players from both the original concept album (Yvonne Elliman as Mary Magdelene) and Broadway (Barry Dennen as Pontius Pilate, Carl Anderson as Judas, Bob Bingham as Caiaphas). For me, Ted Neeley is perhaps the greatest of all singers to have taken on the part – and his delicate looks and picture-perfect depiction of Jesus as seen in those Bible prints fit perfectly with the man who has ‘heaven on his mind’, according to Judas. Anderson is also amazing in the role of Judas – and both men continued to portray the roles on stage for many years afterwards.
Filmed in Israel and other Middle Eastern locations, the film is atmospheric and offers much to believers and non-believers alike. Perhaps it makes Judas a little too sympathetic (but it shows him as human being with a conscience, rather than a cardboard villain), and portrays Jesus as a misguided man with doubts (in his soliloquy song, Gethsemane, he asks God ‘why then am I scared to finish / what I started / what you started / I didn’t start it’), but that is all to its strength.
The music remains exceptional after all these years, although some of the period lyrics (‘what’s the buzz’, ‘cool it man’) sound rather anachronistic in the 21st century. Elliman is touching as Mary in her big number (‘I Don’t Know How To Love Him’) and if her song with Peter (‘Could We Start Again, Please?) is a bit like a Coca-Cola advert, that is perhaps the only blip in an otherwise fine film. Peter, by the way, is played by one Philip Toubas, who under the name of Paul Thomas followed quite a different career path as a successful porn actor and director.
Is Jesus Christ Superstar worth your time now? Absolutely. It opens out the stage production (which is powerful enough in its own right) and stands up as one of the last hurrahs of 1970s musical cinema. Jewison, who had already brought Fiddler on the Roof to the screen, is a good choice for director, and the film benefits from Melvyn Bragg being involved on the screenplay, and Andre Previn on the musical scoring.
A further version was filmed for television in 2000 featuring Glenn Carter as Jesus and Jerome Pradon as Judas, which was closer to the stage production.
