Jesus Christ Superstar Live (2018)

This year marks half a century since Tim Rice and Andrew Lloyd Webber’s concept album was released and, if anything, it’s popularity is accelerating. The 1973 remains the only proper film version, but this century has seen at least three high profile recordings. The first in 2000 featured a pouting (blond) Glenn Carter mocked by a sneering Rik Mayall and condemned by a Pontius Pilate clad in a Nazi-esque uniform. Then in 2012, following ITV’s talent contest Superstar a stadium tour ensued featuring winner Ben Forster in the lead role with comedian Tim Minchin as Judas and former Spice Girl Melanie Chisholm as Mary Magdalene. A DVD was released before the year was out.

Six years later NBC announced their intention to broadcast Jesus Christ Superstar Live on Easter Sunday 2018 starring singer John Legend as Jesus and rockstar Alice Cooper as Herod. Legend would go on to earn a Primetime Emmy nomination for his performance. The production was performed in front of 1500 people in the venue and 9.4 million viewers at home (Wikipedia).

The venue for all this, in the heart of Brooklyn, looks spectacular. The purpose built stage is huge, and the production makes the most of it with light and pyrotechnics bringing life to a sparse, grunge-tinged set. Several tiers of scaffolding host the orchestra and various members of the cast from moment to moment. However, the simplicity of the set allows its use in certain instances to really stand out. Parts of it look like dilapidated wall paintings. We’re unable to work out except a vague sense of religious heritage now faded and overlain with grime. During the overture a dancer spray guns on the word “Jesus” on one of the walls in red paint. The graffiti is sprayed over later in the production as the crowd begins to turn on their would-be messiah. Most strikingly the final shot before the role call sees the walls part to leave a cross-shaped space through which the still crucified Jesus is withdrawn gradually disappearing from view and being replaced by a bright light which only intensifies as the gap narrows again. It’s a wonderful metaphor for new life and hope coming from death. If only there was a Christian word for that…

Dress is modern and urban, though the priests, Pilate and Herod appear in more unusual costumes. Previous modernisations feel like they have tried too hard to make a statement. Here they are pitched just right to be modern, but retain a nod to the historical nature of the story. Jesus is in skinny white jeans and a longline grey cardigan. Cooper’s Herod is clad in a sparkly gold suit, Pilate in maroon leather trousers and matching dress coat. The priests wear black throughout, though at one point they have hoods pulled far over their faces.

All of which brings me to one of my misgivings about the production and Jesus Christ Superstar in general, the recycling of antisemtic tropes. Some of this is inherent in the music itself. The song where the crowd pressures Pilate into crucifying Jesus is impressive musically but also troublingly powerful. Set on a huge stage, with a vast crowd of extras all crying to crucify Jesus it only reinforces the perspective that the Jews were to blame for Jesus’ death. Having four Jewish priests plotting on a darkened stage with their black hoods pulled over their faces reinforces the “Jewish conspiracy” stereotype. Some versions of the opera omit “Pilate’s Dream” which puts Pilate’s wife’s dream about Jesus (Matt 27:19) on her husband’s lips casting him as fearful from the start, ripe to be bullied by a Jewish mob. Creative directors love to put a new spin on hit shows - indeed this production is a testimony to that impulse. It would be nice to see just one version of the opera return this song to his wife and give PIlate a more menacing presence from the off. From a Jesus films geek point of view it’s curious to see Ban Daniels, who played the most sympathetic Caiphas to date, in the BBC’s ultra-aware The Passion (2008), playing Pilate here instead. And it’s good that this version continues the show’s tradition of colour-blind casting, with John Legend joining the growing list of people of colour to have played Jesus.

Legend’s casting is interesting for other reasons too. The original cast were all largely unknown and while the film turned Ted Neeley into a star, subsequent productions went back to using unknown actors. However, the 2012 version was an interesting transition in this respect. The show took a group of unknown hopeful performers and in the tradition of all reality TV competitions gradually the winner emerged a star. By the time the production was touring stadiums, Forster was better known than almost all of the rest of the cast. This time around Legend is a bona fide star in his own right, already with ten Grammies to his name.

The star power Legend brings to the role blurs the line between him and a role which is about fame (and its transitory nature). During “Hosanna” Legend is not just celebrated by the cast, but he breaks the third wall and moves along the length of the audience giving high-fives and grasping outstretched hands as Jesus drinks in the adulation. Legend is, of course, acting, but those audience members interacting with him, are they playing along out of their love for Legend, for Jesus, or just their love of the show and the drama of the moment? Perhaps all three.

I also wonder about the different ways Legend’s existing fans will interpret the show compared to prior fans of the show. Superstar is essentially a revisionist piece because Judas is a more sympathetic character than Jesus. Legend’s performance echoes this. He oozes charisma, but at times his Jesus seems a little too pleased with himself. I can’t help but wonder though if those tuning in as fans of Legend, but who are unfamiliar with the musical, will interpret it in the same way as I do. Christians who are unfamiliar with it often dislike the performance not realising that what they are reacting to is more about the role itself than this particular performance.

Inevitably with situations like this - where one work is still very much cherished and where both versions (perhaps due to the source material, the opera), stick very closely to the original - you end up comparing casts. Legend sings some of the songs better, more sweetly perhaps, than Ted Neeley, but can’t match him on the high notes in Gethsemane. I’d never noticed it before, but without Neeley’s amazing vocal work the song kind of drags. Legend only had one shot at it of course. Brandon Victor Dixon’s Judas gives a sold performance. He doesn’t quite have Carl Anderson’s charisma, but that actually suits the role, and Anderson can’t moonwalk, at least not to the best of my knowledge. Sarah Bareilles’ turn as Mary Magdalene probably bears the best comparison with the original - no mean feat given Yvonne Elliman’s in the 1973 film. Interestingly her saffron costume is more or less the only one that would not appear out of place in the 1970s as if soothing potential love interests are the one constant over the past 50 years.

But of course the other challenge these actors have, which those in the original did not, is trying to give performances that work both on stage and on screen. I must admit that I’ve not experienced a live stage show on screen like this before, so apologies if this is a tired observation. Nevertheless, Alice Cooper excepted, the cast do a good job with these challenges, generally producing performances which work to 1500 people in the audience, as well as for the up close cameras. Visually this is made more interesting as well by the presence of several roving musicians who appear almost as part of the cast at various moments.

It’s good to see that even at fifty, Jesus Christ Superstar is still capable of bringing something new. It speaks volumes about Rice and Webber’s original work that it has transitioned so effortless this far into the twenty-first century. As much as I love the original film, it’s so caught in the 1970s that it’s a hard sell to modern audiences and neither it, or subsequent other filmed versions capture the thrill of catching the show in a theatre. That this version manages to achieve that is hugely impressive. In part that is due to this version’s sheer energy. Superstar has always had dancing, but directors David Leveaux and Alex Rudzinski do a great job of getting it to convey that “buzz”. That and ambitious lighting, use of the ample space the auditorium provides and the roving, circling camera work make for a truly impressive adaptation. I have a feeling that next time I sit down to watch Superstar with the kids, it will be this version we will be reaching for.

Jesus Christ, Superstar (1973) Revisited

I thought as it was Easter Sunday (at least in the Western Churches) that I should post about a Jesus film and as earlier in the day my family sat down to watch Jesus Christ, Superstar (1973) I thought this would be a good place to start since it's been a long time since I wrote anything about that film at all.

One of the thing that I've mentioned before but never on the blog is that what is unique about the piece is that the film's numerous solos give us an account of things from the perspective of each of the major characters in turn. The solos let us inside their heads, including Judas (various starting with "Heaven on their Minds"), Mary ("I Don't Know How to Love Him"), Jesus ("Gethsemane"), Pilate ("Pilate's Dream"). Herod ("King Herod's Song"), the Priests ("Then We Are Decided") and even Simon the Zeaot ("Simon Zealotes"). These songs function as internal monologue, something that is typically absent from biblical films. Even when it is present, such as in Last Temptation of Christ (1988) it is only from one character's perspective, rather than seven or eight.

But enough of previous observations, what about this viewing? One thing that really stood out to me this time was the extent to which the film seeks to be more inclusive. Whilst Jesus and a number of the other lead part are played by white men (Herod, Caiaphas and Pilate), Judas is African Carribean, Simon the Zealot is mixed race and Mary Magdalene is Asian American. This diversity is all the more apparent when looking at the broader range of actors including the chorus. The number of non-white face is far more extensive and women are prominent amongst Jesus' followers, as well as in other roles ((although not his disciples, nor amongst the priests). There are even a few shots of two men with their arms around one-another, suggesting the film is also positive about same-sex couples.

In this respect the film goes far further than the play. In Lloyd-Webber and Rice's original rock opera Mary is the only principle female part. Indeed even though the dream that Pilate's wife has in Matt 27:19 is covered and indeed developed into a song in its own right, it is transferred to being the dream of her husband, the two characters are conflated into one, and Claudia is left out of the script. Here though, just as Pilate's song comes to an end a woman comes to him and the two act if they are equals, and seemingly, then, husband and wife. Later, the same woman appears in two shots accompanied by two other women, but both times the shot cuts to Pilate next and there is something disapproving in the way they are looking at him. It's a small nod towards recognising the character's role, but there nevertheless.

One of the things that is famous about the film is the way it blends modern and ancient imagery: whilst the Jesus story is "set" in first century Judea, the film takes place in modern Israel; costumes are deliberately anachronistic; the presence of tanks, aeroplanes, and many of the items on display in the clearing of the temple scene are from the twentieth century not the first; and the language does not even attempt authenticity. Another aspect of this is the al fresco Last Supper scene which actually introduces a third era into the mix by copying the composition of Leonardo's famous fresco, both in wide shot and in this close up shot where the position of the disciples hands matches (more or less) the pose from Leonardo's famous mural.

One thing I particularly appreciated this time around is the complexity of some of the shots, including a long shot of Caiaphas and Annas during "Then We Are Decided" and the one through the hole in the cave at the start of "What's the Buzz?". One that is particularly impressive is the one that links "The Death of Judas" and the trial before Caesar. It starts on Judas' still dangling body at the top of a mountain and pans out and down until moving in on Jesus' trial which is about to begin. It must have been an incredibly difficult shot to achieve, which raises the question why director Norman Jewison went to the effort. Presumably this is to underline how Judas' death will be for ever tied to the death of Jesus, and how Jesus' sacrificial death is dependent on Judas' betrayal. Here's the longest version of this shot I could save as a gif:

That's all for now, but if you want to read / hear more about my thoughts on this film you can read my other posts I've made on it here, in particular the scene guide, or you can download my podcast on it here:

'Jesus Christ, Superstar' at 40

This week's The Culture Show on BBC2 featured a short piece on the 40th anniversary of the release of the original 'Jesus Christ, Superstar' album. Such was the popularity of Rice and Lloyd Webber's concept album it was only 3 years until it was adapted for the film. The programme includes an interview with Rice and Lloyd Webber as well as a closer look at the artists involved in the original recording including a few excerpts from Murray Head (Judas).

Viewers in the UK can catch the show on iPlayer. Everyone else will have to satisfy themselves with listening to the original album on Spotify's smarter younger brother, we7.

Paul Flesher on Jesus Christ, Superstar and Ten Commandments

Having enjoyed Paul Flesher and Robert Torry's "Film and Religion: An Introduction" it's been a shame that they have used their blog so sparingly. Indeed Flesher's two recent posts, on Jesus Christ, Superstar and The Ten Commandments (1956), are the first entries for 2009.

Unfortunately, I've not got time to go into the details (it's just turned midnight as I write), but to summarise, his piece on The Ten Commandments compares it to the work of Melito of Sardis, whilst his post on Jesus Christ, Superstar looks at the love triangle at the core of the film. It's interesting stuff so here's hoping these posts mark the start of more frequent blog posts from Paul Flesher.

Pop Classics: Jesus Christ Superstar

I'm very much enjoying Juliette Harrisson's Pop Classics blog, particularly when she turns her attention to Bible films. The latest film based on the scriptures to which she's turned her attention is 1973's Jesus Christ, Superstar (all my posts on this film). Juliette seems to be very good at finding a new angle, and in this case her analysis of the film's costumes are very interesting. They are much commented on, of course, but few writers go beyond noting the mix of ancient and "modern" (and the datedness of the "modern"). Here's a brief excerpt:

He [Pilate] also wears a rather lovely golden laurel wreath. Laural wreaths were prizes in much older Greek athletic competitions, while Caesar made a point of refusing a crown in public to avoid looking like a monarch (although he was a dictator, he was careful never to call himself a king). Like the rest of Pilate's costume, this is not related to actual Roman dress, but to modern perceptions of what it is to be Roman.

Incidentally, my other favourite female writing informatively about the accuracy of historical films, The Guardian's Alex von Tunzelmann recently posted an amusing piece on The Mission. Her conclusion? "It might all have been avoided if they'd had some karaoke bars"...Well quite.

Is There a Remake of Jesus Christ, Superstar in the Works?

The Hollywood Reporter says so.

Universal sang from the mountaintops after the $600 million global success of the Abba musical "Mama Mia" last year. Now the studio could be belting them out about a very different figure: Jesus.

The studio and producer Marc Platt are in active development on a remake of "Jesus Christ Superstar." And there's a director -- at first surprising, but not without its logic -- that Platt and the studio have been talking to: Marc Webb.

If this project really does come to fruition with Universal it will be the first Jesus film to be made by a major studio since Universal's Last Temptation of Christ over 20 years ago.

Of course Jesus Christ, Superstar has been updated more recently than that. There was a fairly awful filmed version of the stage production made at the time of the millennium. If potential director Marc Webb does make a noughties hipster update of the musical hopefully he'll steer well clear of that version of the story with its pouting Jesus and its Nazi-style Pontius Pilate.

Thanks to Peter Chattaway for the tip off.

More Thoughts on Prop 8: The Musical

I've been thinking a little more about Jack Black's turn as Jesus in Prop 8: The Musical. In particular I was thinking about the similarities between the film and the arguments between Jesus and the Pharisees in the gospels. It's a parallel I'm, a little uncomfortable making. Rightly or wrongly, accusing anyone, particularly relatively devout Christians, of being Pharisees carries with it all kind of negative connotations. Many of these are not really fair, for reasons I won't go into here. So let me make clear that I'm not looking to take sides in the debate, but rather I'm simply trying to analyse the work before me. And in this particular case I do see a number of similarities with those debates. So the conflict takes place between a group of religious officials and the leader of a group seeking to reinterpret the traditional "law". Star power aside, the Christian Pharisees don't have a single leader or sole representative whereas once Jesus appears, he is the only spokesperson for the other side. Secondly, the substance of the argument revolves not around New Testament texts as one might expect, but around one of the Jewish books of the law. Jesus uses scripture to counteract his opponents arguments as he does in Mark 2:23-28, or cites their behaviour in other situations as with the "corban" argument of Mark 7:9-12. Lastly, on Monday I noted how Prop 8 was essentially propaganda which I would define as a work specifically produced to forward a particular cause. But of course, this definition also applies to the gospels (John 20:31). And, whilst I found the portrayal of the Christians in Prop 8 to be unhelpfully hyperbolic and negative it's more than possible that the gospels also portray the Pharisees in an over-the-top fashion.

Reflecting on this aspect of the film made me think of the 1973 version of Jesus Christ, Superstar which is obviously such a cultural reference point that any subsequent comic Jesus musical is bound to reference it in some way or another. What's particularly interesting in this case is the costuming. As with that film you have a conflict between the "Pharisees" dressed in black uncomfortable looking costumes, and Jesus and his followers who are dressed in bright, light hearted and casual outfits which enable them to dance and move more freely. Of course Jesus Christ, Superstar's camp value has long been remarked upon so perhaps it's not too surprising to find this aspect coming to the fore.

Jesus Christ SuperstarLoughborough Parish Church

Friday night was Jesus Christ, Superstar performed at my local church, All Saints with Holy Trinity in Loughborough. Parts of the building go back to the 14th century which certainly provided an interesting and atmospheric backdrop to the production. But director Shane Perry enhanced this by his innovative use of the building. The absence of risers potentially places those at the back at a real disadvantage, so Perry put his stage up relatively high and used the aisles repeatedly. This not only brought the action closer to the audience, but it also got us turning around - subtly reminding us of the venue. There was also some interesting use of the churches furnishings. Pilate used the bishop's chair as his judgement seat, and whilst the crowd celebrated Jesus's triumphal entry, Caiaphas admonished them from the pulpit.

The role of the authority figures in Jesus Christ Superstar has always been something of a topic of controversy. Here both Pilate and Caiaphas were played well by the excellent Lee Costellow and James Robinson. Robinson's voice was astonishing given his apparent youth and Costellow's performance neatly balanced the power of Rome and a frightened man out of his depth. Whilst this may not be the Pilate of history it was certainly great drama. But it was perhaps the costumes that spoke volumes of the way the power dynamic was portrayed. The priests wore towering Pasolini-esque headpieces; the Romans only fabric armour.

However, the costumers were also responsible for the weakest aspect of the production - Jesus's wig. It says a lot about the quality of the production that the biggest fault I could find was something as trivial as a hairpiece, indeed my friend didn't even notice that it was a wig. But nevertheless, whilst Lyndon Perry was a good enough age to play Jesus, he was too old to get away with that particular wig - to my mind at least.

That said, Perry's overall performance as Jesus was strong. He was likeable enough, but not to an extent which neutralises Judas's objections. In contrast to the gospels, Jesus Christ, Superstar requires its leading man to ensure he is not too heroic. Perry got the balance just right, absolving Judas to a certain extent, and giving the piece a palpable sense of tension. The Judas-Jesus dynamic is made even more interesting by the fact that the men playing these roles are the director and his brother. There's just a little extra edge to their disagreements.

Of course, Superstar rests heavily on the music, and the band were excellent. They opted to stay faithful to the piece's seventies roots, replete with a wah-wah pedal and early sounding keyboards. But there was also some interesting use of the church organ (or at least a passable imitation - I was sat behind the speakers so it was hard to tell). Again this worked to involve the location in the production, invoking the story of Jesus's followers which it not only narrates, but also continues.

Given the difficulty of the piece for vocalists, it would be unrealistic to expect an amateur production such as this to be flawless. Yet the overall quality of the singing was very good. Perhaps the best performance was Mary Magdalene who not only sung well, but was the pick of a strong cast. Indeed it was Mary's performance that carried the show's final moment - a brief, and wordless, resurrection scene. The original production omits this part of the story opting instead to resurrect Jesus during the curtain call. Such an alteration ran the risk of being kitsch or trite, but focussing primarily on the reaction of Mary and the other women (rather than on, say, the stone being rolled away) put the emphasis on the human side of things, and captured the strange, but joyful emotions of the first Easter.

All in all, then, this fine production made the most of the location and was entertaining and thought provoking in equal measure.

Jesus Christ, Superstar at Loughborough Parish Church

As I live in the centre of Loughborough, my nearest church is the historic Parish church - All Saints with Holy Trinity Church. The current building dates from the 14th century though it seems likely that the site once housed a Norman and perhaps even a Saxon predecessor. The other day I was cutting through the church grounds and heard a rendition of "Everything's Alright" from Jesus Christ, Superstar. Having previously seen the rock-opera play there about 5 years ago I hoped this meant that it was in for a re-run, and yesterday's glance at the Parish noticeboard confirmed my suspicions were correct.

The production will be showing from 24th to 26th September starting at 7:30 with tickets available through Loughborough Town Hall and seats allocated on the evening on a first come first served basis. Tickets will be £8.50 with concessions available on the Wednesday (24th) for £7.50. It's the work of P Productions who are apparently linked to local amateur theatre group Greasepaint who I believe were involved last time as well.

Having seen the production 5 years I have quite high hopes for it this time. As the piece is a tricky one to sing there will no doubt be the odd imperfection, but all of that is more than compensated for by the setting. Last time's performance made excellent use of the mediaeval setting including memorable use of the iron gates inside the western door (pictured). Certainly the production was far more atmospheric than most I have seen and hopefully this latest version will combine the best of the previous production with some good new innovations as well.

Thoughts on the Jesus Christ, Superstar Director's Commentary

Despite my obsessiveness about Jesus films, watching this a month ago was actually the first time I have sat down to watch a film with the commentary track turned on. It's something I've always meant to do, but there are so many films to see in so little time.

It was also the first time that I have watched the film in widescreen, and, being on DVD obviously helped the quality. I must admit I was blown away by the cinematography this time around. There is still much in this film that has dated, and not in a good way, but at the same time there are some incredible images at times too. Until fairly recently, I was sceptical about the merits of DVDs over VHS, and there was even a time (long long ago) when I failed to see the benefits of widescreen. But, increasingly, I'm re-discovering films for the first time as there visual assets are given the opportunity to show what they're worth.

Anyway, I thought I would post a few comments on some of what was said in the commentary which was given by both director Norman Jewison and Ted Neeley who played Jesus. It was quite touching hearing the two come back together to do this commentary. Both men clearly felt a huge amount of affection for each other, and towards the end Neeley offers Jewison a heartfelt thank you for casting in this film which has gone on to be one of the defining moments of his life. Neeley has been playing Jesus ever since, (including, we are told, 2000 performances on a five year tour from 1992-97) and even met his wife on set.

The other emotional aspect of this commentary is that the actor who played Judas, Carl Anderson - who was a great friend to both men, had died a month before recording. This was, I believe, the first time the two men had met since Anderson's funeral, where Neeley had performed "Gethsemane". As I said above, I don't have a huge amount of experience with director's commentaries, but I imagine that few of them are as emotional as this one. Perhaps that is something that goes more with older films, particularly ones that have been as influential on those who took part as this one.

Thankfully it wasn't all emotional however, and there are plenty of interesting revelations. The pair explain, for example, that both Anderson and Neeley were referencing Kazantzakis's "Last Temptation" during filming; how the set was all pretty much there when they got there other than the scaffolding used by the priests; and how the cast was split up into different camps to improve the cliquey-ness with Jesus's group and the animosity with Judas and the priests. This was enhanced by the sense of isolation the whole cast and crew felt being stuck in the middle of the Israeli desert; it fostered community.

As with most director's commentaries there is plenty discussion about some of the shots that are used. One of the more important shots for interpreting the film, which is often overlooked, is the opening scenes of the actors getting off the bus. Jewison notes how he wanted to introduce each character in turn, and it struck me how this captures part of the experience of those attending a stage version of this opera. Usually they would buy a programme, which introduces each of the characters, and flick through it before the performance starts. Likewise the actors "take a bow" at the end of the film as they file back onto the bus.

I particularly appreciated the explanation of the dissolve from the vultures, who just happened to be flying overhead one day, to the priests. Further fuel for those who accuse the film of anti-Semitism, but an effective extra way of highlighting who the bad guys are nevertheless. As for those charges, Jewison and Neeley are keen to point out that the cast and the (all-British) crew included Christians, Jews, Muslims and Buddists.

Elsewhere there's talk of how the Dead Sea used for "Herod's Song" forms a most around him; praise for the locations ("like westerns"); and admiration for the way Tony Gibbs intercut "Superstar" with scenes from the crucifixion.

There's also quite a bit of discussion about the casting. Jewison apparently drove a considerable distance to see Neeley play "Ted" in Tommy, only to find when he got there that he'd been injured that afternoon. Carl Anderson was worried that casting him as a black Judas might hurt the film, but Jewison reassured him by telling him he was being cast because of his talent rather than his colour. Jewison also quotes his younger self at one point as defending casting a blue eyed actor by explaining "this is not accurate, it's an opera we have to go with the voices". This certainly wasn't a problem for the actor playing Pilate and Yvonne Elliman (Mary Magdalene) both of whom had sung on the original album.

Then of course there's the trivia. Here are some of the pieces I noted down:

• The "Clearing the Temple" scene had to be limited to two takes because everything got smashed up.
• The tanks used in the famous shot where they creep behind Judas (below to the sound of flutes), were the real thing, fresh from the 6 Days War.
• The grass for the Last Supper had to be grown specially, four months in advance.
• The rope they used to hang Judas broke in take 1.
• The soldier who was crucifying Neeley didn't speak English and almost put the spike (nail) through his hand for real.
• Mrs Neeley cried when shown the flogging scene.
• Filming "Gethsemane" required 6 guys carrying equipment up the mountain.
• The 120^o heat was so intense that filming in some scene had to stop every 30 seconds.

Finally, there is also some discussion about the controversy surrounding the film. Strangely it seems the BBC was more concerned than the Vatican. Whilst the BBC banned the album, presumably from it's radio stations primarily, the Vatican sent journalists to see the film who were so overwhelmed they even suggested Neeley should be canonised. The problem for the BBC was apparently not because of the ambiguity surrounding the events after Jesus's death, but because they couldn't handle a singing Jesus. Speaking of that shot, Jewison confesses that the shepherds appearance was all down to chance. In any case Neeley was neither rattled, nor particularly surprised by the controversy, not only describing it as "great" but also "inevitable" due to the film's personal nature. He is pleased, however, that many fans of the film have found it brought them to a more spiritual place.

There's obviously much more besides this, and the DVD also comes with an interview with Sir Tim Rice which I covered back in August.

Scene Guide - Jesus Christ, Superstar

Having reviewed Jesus Christ, Superstar via my podcast a couple of weeks ago, I've been meaning to post a scene guide ever since. The film / musical is so well loved that there are plenty of resources for it online, and I'm sure that if I'd looked for long enough I would have found one which does exactly this. It may well have been quicker. The plus side is that I've been able to add times (although these are approximate), song titles, and a few more subtle references than normally. As per my usual procedure I'll continue to preference Mark over the later synoptics where appropriate.

0:00:00 - Overture
0:05:30 - Heaven on Their Minds
0:09:00 - What's the Buzz? - (Matt 6:34; John 14:1; Luke 10:38-42)
0:11:30 - Strange Things Mystifying - (John 12:3-7)
0:13:30 - Then We Are Decided - (John 11:47-48)
0:17:00 - Everything's Alright - (Luke 8:1-3; Matt 6:34; Mark 14:3-9)
0:21:30 - This Jesus Must Die - (Mark 14:1-2; John 11:49-50)
1:25:30 - Hosanna - (Mark 11:1-10)
0:28:00 - Simon Zealotes - (John 6:15)
1:32:30 - Poor Jerusalem - (Mark 10:45)
0:34:15 - Pilate's Dream - (Matt 27:19)
0:36:00 - The Temple - (Mark 11:15-19)
0:39:00 - Gethsemane/See my eyes - (Mark 1:32-34; Luke 11:29)
0:42:30 - I Don't Know How to Love Him
0:46:30 - Damned for All Time / Blood Money - (Mark 14:10-11)
0:51:30 - The Last Supper - (Mark 14:17-31)
0:58:00 - Gethsemane (I Only Want to Say) - (Mark 14:32-42)
1:04:30 - What's the buzz (reprise) - (Mark 14:43-50)
1:06:15 - The Arrest - (Mark 15:1)
1:08:15 - Peter's Denial - (Mark 14:66-72)
1:11:00 - Pilate & Christ - (Mark 15:2-5; Luke 23:6-7)
1:13:00 - King Herod Song - (Luke 23:8-11)
1:16:45 - Could We Start Again, Please? - (Matt 16:22)
1:20:00 - Judas's Death - (Matt 27:3-5)
1:24:30 - Trial Before Pilate - (John 18:29-38, 19:4-16; Matt 27:24,26)
1:31:30 - Superstar
1:36:00 - Crucifixion - (Mark 15:22-27,34; Luke 23:34, 46)
1:38:45 - John Nineteen: Forty-One - (John 19:40-41)
1:41:15 - [Empty Cross] - (John 10:11-15)

Notes
Aside from the opening few songs, Superstar is essentially a Passion play, albeit one set to music. That said, it is also a significant deviation from that genre as most of the action takes place prior to Pilate's decision to execute Jesus rather than from that moment to his death. It is noticeable that the crucifixion is over very quickly in this film, and the road to the cross section is limited to a few brief shots during the title song.

The film's use of the biblical sources is particularly interesting. As is fairly standard for a Jesus film, the various gospels are harmonised into one telling. Since the libretto holds fairly loosely to the texts this is generally unproblematic, but one exception is the scene where Pilate condemns Jesus - Trial Before Pilate. This draws on John 18:29-38, as well as 19:4-16 and two verses from the gospel of Matthew 27:24,26. This song seems a little overcomplicated as it seeks to explain why Pilate condemned Jesus. It's the one aspect that the 1999 recording of the stage version of the opera does particularly well - explaining why the brutal Pilate we find recorded in history appears to act meekly in the case of Jesus.

Elsewhere however the film picks out random bits of the gospels to use as throwaway lines in other songs. Typical of this is the priests' discussion of Jesus referring to his miracles, or Judas referring to his teaching. Likewise Jesus's anointing is placed in an entirely new context. One further example of this is the way in which Simon the Zealot is given a far more significant role here than in the gospels. His surname, which may have referred to his past or present beliefs (or may even have been ironic), is used as the basis for a whole song.

Whilst I've expanded the list of references here there are more I could have included. One of the useful sources in constructing the above information is Stern, Jefford and Debona's "Savior on the Silver Screen". There they include a few verses that I did not, such as the use of Mark 16:8 to refer to the actors getting on the coach in the silence at the end of the film. This hasn't been included mainly because this scene is outside of the historical referencing of the play, and those verse refer to different characters both in person and in function.

In order to simplify things, the film combines a number of characters. So Pilate's wife is absent and does not, therefore, appear to be warned about Jesus in a dream - all this happens only to her husband. Likewise the various parties opposed to Jesus are brought down to just two leads, Caiaphas and Annas, and a few priests.

Podcast: Jesus Christ, Superstar

This month I'm speaking on Jesus Christ, Superstar, Norman Jewison's 1973 film based on Tim Rice and Andrew Lloyd Webber's rock opera. Jesus was played by Ted Neeley.

My four previous entries in this podcast are all still available to download: Jesus of Nazareth, Il Vangelo Secondo Matteo (The Gospel According to St. Matthew), The Greatest Story Ever Told and Jesus of Montreal

Superstar Extras - Interview with Sir Tim Rice

I recently got hold of a copy of Jesus Christ Superstar (1973) on DVD - well worth it for the extras. The main attraction is a featured commentary with director Norman Jewison, and Ted Neeley (who plays Jesus). I've not had a chance to listen to that yet, but the disc also includes an interview with the musical's lyricist Sir Tim Rice. Much of what Rice says is similar to excerpts from an interview with him used for the Radio 4 programme Silverscreen Beats.

Rice talks about how he and Lloyd-Webber were put together by an agent, who didn't really like his stuff, but thought Webber would go somewhere. Looking back he realises that releasing the musical as an album made Superstar far more successful than if it had just been produced for the stage from the start.

It seems strange listening to someone who is now a knight of the realm talking about their days as a young rocker - particularly when it was those younger days that eventually led to their knighthood. You get the feeling that at the time they felt they were doing something slightly anti-establishment and yet as a direct result they have ended up as pat of that establishment. It makes me wonder which of today's shocking rebels will be the Sir Matt Lucases of the future. Anyway I digress.

Rice also talks about how his sympathies definitely lie with Judas who acted as most people would in his opinion. Superstar is a "human story" rather than religious one, although Rice stresses how it leaves the question of Jesus's divinity open to interpretation.

He also shrugs off the criticisms of anti-Semitism as "barmy". Personally I never really saw it that way either before all the discussion about The Passion of the Christ, but then it was really only then that I "got it". But in the light of all that discussion, then the way the musical pretty much lets Pilate off the hook, blaming instead the fickle crowd of Jews who quickly switch their loyalties does stray into problem areas. That said, the way the film portrays it, as a group of young hippies acting out the musical, mitigates this somewhat.

Silverscreen Beats:Godspell and Jesus Christ Superstar

I've been continuing to enjoy Silverscreen Beats, although more via BBC online than live. I notice that Mark Goodacre has responded to my question about his role in the series as follows:Well, the clip of me speaking, as well as a lot of the rest of the content, is taken from a BBC Scotland documentary broadcast on Easter Day 2004 and entitled Silverscreen Superstar. I blogged on it briefly at the time (Silverscreen Superstar, 15 April 2004). I didn't know about the new version, so I am interested to see how it pans out and whether they'll be using any more of me in it.In other words it is a new series made by interspersing recycled content from another programme with new comments from Miles Jupp (who the BBC introducers are keen to stress is a theology graduate).

On Tuesday it looked at Godspell which is one of Jesus films that I appreciate less than most. Both of these films have dated significantly in the 33 years since their release, but Godspell possibly more than Jesus Christ Superstar. That said, hearing the music again has given me a new appreciation for the music in the film.

The biggest strength of the film for me is the way it gives creative interpretations of the parables. Most Jesus films tend to produce these in a rather stodgy format, presenting them as the sacred texts they have crystallised into over 2000 years of church history losing the vitality of the dynamic, creative, challenging nature of storytelling. It's also worth pointing out how the parables were very much part of the wider culture in Jesus's time, a little like how the film tries to re-imagine the story into the culture of its time.

The programme made a couple of interesting points. Firstly, one of the interviewees comments on how at the time Godspell was widely accepted by church groups, but has now fallen into disrepute as fundamentalism has risen. This strikes me as an interesting contrast to Jesus Christ Superstar which was considered scandalous in its time for it lack of resurrection amongst other things, but is gradually being rehabilitated. Whilst I don't imagine it's any more popular than Godspell amongst fundamentalists (especially as it also excludes the resurrection), it's curious to see these two films level out in acceptability having come from very different starting points.

The other point that was new to me was the discussion of the movement between sharps and flats in "Day by Day" and how that reflects the back and forth of prayer.

For what it's worth there's a 30 second clip of "All for the Best", one of the songs from Godspell, here. This clip has become infamous now for being shot from the roof of one of the twin towers, and it feels strangely inappropriate post 9/11. I've also just discovered Big Bopper which has music and a number of pictures from the film.

One of the most interesting discussions about Godspell is in Richard Walsh's book "Reading the Gospels in the Dark" which I touched on st the end of this post from last month.

Yesterday (Wednesday) the series looked at Jesus Christ Superstar, which whilst it also isn't one of my favourite Jesus films, is certainly my second favourite musical (behind Sweeney Todd). There's a nice article on this film by Mark Goodacre (who has appeared in all three programmes so far) at the Journal of Religion and Film.

One of the things the programme didn't really talk about is the way Tim Rice harnesses the full potential of the musical to give us a new way of looking at Jesus. The Musical is one of the only dramatic art forms that allows a number of different characters to express their inner feelings whether through the solo (monologue), or songs with a number of the leads (which can either be dialogue or consecutive monologues). Of course, in theory, other dramatic forms can, and indeed do, do this on occasion, but it is perhaps in the musical where this feels most natural. What Rice does is include a high number of solos, giving us the internal monologue of a number of the lead characters. So for the first time we hear the "thoughts" of Judas, Jesus, Mary, Pilate, as well as Herod, Peter and Simon Zealotes to a lesser extent, all within the same piece.

It was interesting to hear how the title "Superstar" got associated with the song, film and album. I must admit that I tend to think of this as a musical first, rather than an album as Rice was suggesting we should. But then since I'm such a big fan of the music in this film it shouldn't be too hard to make that leap.

The series continues today at 3:45 BST with a look at the music from Life of Brian.

The Gospel Road on DVD

I can't believe I've only just noticed this, but Johnny Cash's 1973 film The Gospel Road was released on DVD two weeks ago. I've actually never seen it. The VHS version went out of circulation a long time ago, and as it's supposedly more of a pseudo-documentary than a dramatic piece, I've never been sufficiently interested to pay what most sellers want for it. Clearly the success of Walk the Line has had an influence here, and the two films would make an interesting double feature as Cash found his faith very shortly after the events of that film.

In addition to narrating the film, Cash also co-wrote it with Larry Murray. Jesus was played by director Robert Elfstrom who played "the real Jesus as he might have been according to the Christianity Today of 1973. The film cuts between location footage of Jerusalem, re-enacted scenes from Jesus's life, often intercut with shots of today's polluted environement. Kinnard and Davies ("Divine Images") consider that this "technique was weakened by constant repetition throughout the film".

At the time Variety called it "an admirable musical documentary filmed in Israel, about the public life of Jesus Christ." Richard Corliss, in a Time article called "Jesus Christ Movie Star", says:

As Cash intones the words, "This is My beloved Son, in Whom I am well pleased," it's easy to imagine that God just must have a Southern accent. The pauper-budgeted simplicity and naivete of "Gospel Road" — its irrefutable good intentions — overwhelm the weirdness of a movie in which the director (blue-eyed, blond-haired Robert Elfstrom) plays Jesus and the star's wife is Mary Magdalene.

There's also a few interesting comments at The Magdalene Review, which discusses this film alongside Jesus Christ Superstar whihc was also 1973 (as was Godspell). Given that my birthday is coming up soon, I think I might have to add this to my birthday list.