Retro Film Review: Jesus Christ Superstar (1973)
“They don’t make those any more” is the phrase that inescapably comes to mind when films produced by Hollywood today are compared with those made during the past golden ages of American film industry. One of those films is Jesus Christ Superstar, 1973 musical directed by Norman Jewison. Filmed just three years after the conceptual rock album that launched the successful careers of lyricist Tim Rice and composer Andrew Lloyd Webber, and two years after the Broadway premiere of the eponymous rock opera, this film illustrates how Hollywood filmmakers, unburdened by self-censorship and shallow commercial calculations, were able to tell frequently repeated stories in an original and impactful manner.
The film's plot is based on texts from the New Testament and follows the last week in the life of Jesus Christ (played by Ted Neeley), starting from his entry into Jerusalem to his crucifixion. What makes this version of the story unique is that the events are depicted from the perspective of Judas Iscariot (played by Carl Anderson), portrayed as a tragic figure throughout the drama. All dialogues are set to music, and their lyrics are rich with expressions and references related to modern times. Thus, Jesus—through the eyes of his disciple Judas—is depicted as the first modern "superstar," a sort of equivalent to a contemporary rock star whose personal fame has become more important than the music itself.
Director Jewison went a step further than Rice and Webber, striving for greater authenticity by filming in desert locations and archaeological sites in Israel, while wisely opting to use contemporary costumes and props. The result is a series of truly striking, and at times surreal, scenes, such as Judas, torn by personal doubt, being pursued by Israeli tanks in the desert.
In addition to the skilled director behind the camera, the film boasted a diverse yet brilliant cast. Ted Neeley as Jesus is excellent, yet still overshadowed by the masterful and recently deceased Carl Anderson, who delivered the performance of his life as Judas. Hawaiian disco singer Yvonne Elliman is also outstanding in her role as Mary Magdalene. The most interesting detail of the casting is Broadway actor Philip Toubus, who, after performing as the Apostle Peter under the pseudonym "Paul Thomas," went on to have a successful career as a respected actor and director of adult films.
Jesus Christ Superstar faced a barrage of criticism due to its theme and unconventional approach, coming from the same moral guardians who later attacked Scorsese's The Last Temptation of Christ and Gibson's The Passion of the Christ. Jewish groups protested outside cinemas over alleged antisemitism, while Christian fundamentalists claimed that depicting Jesus as a man was blasphemous. Meanwhile, those opposed to racism were outraged by Judas being portrayed by an African American actor. Film critics were also divided; while some praised the film for its innovative approach and musical score, others condemned it for its perceived irreverence and lack of theological depth.
Today, Jesus Christ Superstar holds a unique place among cinematic portrayals of Jesus. It is often regarded as a landmark in the genre, influencing subsequent adaptations and interpretations of the Passion narrative. The film's blend of rock music and dramatic storytelling continues to resonate, making it a staple during the Easter season and a subject of analysis in discussions about religious representation in media. Its legacy persists, with many viewing it as a bold attempt to explore the complexities of faith and fame, setting it apart from more traditional depictions of biblical stories.
RATING: 9/10 (++++)
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