When I was young, probably younger than ten, I came under the spell of not one but two musicals about Jesus; one was the magnificent Jesus Christ Superstar, and the other was the much more light-hearted Godspell. I remember seeing the film version of Godspell only once, and that was probably close to twenty years ago, or more. I was lucky enough to get a chance to see it again courtesy of the library (free, no less).
Godspell is, well, a hippie version of the gospel according to Mark. Ten players cavort around in hippie rags and face paint singing songs about the parables of Jesus and the joy of following his teachings. Sure, it doesn't sound like much, but unlike JCS, Godspell is about reveling in the joy of Christ, which, even three decades later, isn't such a bad thing.
The hippie bit doesn't age well. While the group in question are unquestionably talented and can really sing, the whole face-painting acting goofy free spirit thing comes off as terribly dated. I did like the costume for Jesus-a just barely altered Superman shirt and a heart painted on his forehead (and two tears permanently tattooed under his eyes). But a lot of it comes off as either childish or just plain hokey and doesn't translate well to the modern era.
Ignoring the trappings for a moment, though, and you're still treated to some excellent music and some very positive reminders of what Christianity can be, which I'd guess we probably need even more now than people did three decades ago. The other treat in this film and it is so wonderful it's worth sitting through the movie just to see is New York City. Godspell boasts some of the best and most unusual locations ever filmed in New York, and the way the city is used to frame the music and the goings-on is simply brilliant. There's one cute number that takes place on top of the World Trade Center, which is a sobering scene now, and another scene where Jesus is taking the Pharisees to task and the towers are plainly (and purposely) visible in the background. Centers of commerce indeed. But it's not only for the World Trade Centers; Central Park is used brilliantly, as is the Brooklyn Bridge, and many other landmarks, as well as small out of the way places. New York becomes almost a character all by itself, and it's interesting to watch ten people and no one else dance around this enormous urban playground. While Godspell is worth watching in and of itself, the city makes it compelling viewing.
Everyone in the cast is good, but Victor Garber as Jesus is particularly good, as is David Haskell as John the Baptist/ Judas (a slightly confusing switch when it happens). Both men exude a natural charisma in their roles, and it's a bit of a surprise they didn't go on to become bigger stars.
Godspell comes off a little dated and corny, but it's a rare treat in that it actually rejoices in the words and presence of Christ, rather than dwelling on his grisly and unfortunate end, as most other productions do. Somehow I have to think that would have pleased Jesus himself, that focus on the light rather than the dark. Godspell isn't for everyone, but surprisingly, even though I find JCS a better musical, this is a far, far better movie than that.
Godspell is, well, a hippie version of the gospel according to Mark. Ten players cavort around in hippie rags and face paint singing songs about the parables of Jesus and the joy of following his teachings. Sure, it doesn't sound like much, but unlike JCS, Godspell is about reveling in the joy of Christ, which, even three decades later, isn't such a bad thing.
The hippie bit doesn't age well. While the group in question are unquestionably talented and can really sing, the whole face-painting acting goofy free spirit thing comes off as terribly dated. I did like the costume for Jesus-a just barely altered Superman shirt and a heart painted on his forehead (and two tears permanently tattooed under his eyes). But a lot of it comes off as either childish or just plain hokey and doesn't translate well to the modern era.
Ignoring the trappings for a moment, though, and you're still treated to some excellent music and some very positive reminders of what Christianity can be, which I'd guess we probably need even more now than people did three decades ago. The other treat in this film and it is so wonderful it's worth sitting through the movie just to see is New York City. Godspell boasts some of the best and most unusual locations ever filmed in New York, and the way the city is used to frame the music and the goings-on is simply brilliant. There's one cute number that takes place on top of the World Trade Center, which is a sobering scene now, and another scene where Jesus is taking the Pharisees to task and the towers are plainly (and purposely) visible in the background. Centers of commerce indeed. But it's not only for the World Trade Centers; Central Park is used brilliantly, as is the Brooklyn Bridge, and many other landmarks, as well as small out of the way places. New York becomes almost a character all by itself, and it's interesting to watch ten people and no one else dance around this enormous urban playground. While Godspell is worth watching in and of itself, the city makes it compelling viewing.
Everyone in the cast is good, but Victor Garber as Jesus is particularly good, as is David Haskell as John the Baptist/ Judas (a slightly confusing switch when it happens). Both men exude a natural charisma in their roles, and it's a bit of a surprise they didn't go on to become bigger stars.
Godspell comes off a little dated and corny, but it's a rare treat in that it actually rejoices in the words and presence of Christ, rather than dwelling on his grisly and unfortunate end, as most other productions do. Somehow I have to think that would have pleased Jesus himself, that focus on the light rather than the dark. Godspell isn't for everyone, but surprisingly, even though I find JCS a better musical, this is a far, far better movie than that.