Jesus Christ Superstar (2000) (TV)

Directors:

Gale Edwards
Nick Morris

Writer:

Tim Rice (book)

Release Date:

20 March 2001 (USA)

Genre:

Musical | Drama

Plot:

A rock musical version of the Passion Play seen from the point of view of Judas.

Plot Keywords:

Rock | Rock Musical | Jesus Christ | Passion Play | King

Awards:

1 win

Cast

Glenn Carter	...	Jesus of Nazareth
Jérôme Pradon	...	Judas Iscariot (as Jerome Pradon)
Renee Castle	...	Mary Magdalene
Fred Johanson	...	Pontius Pilate
Michael Shaeffer	...	Annas
Cavin Cornwall	...	Peter
Tony Vincent	...	Simon Zealotes
Rik Mayall	...	King Herod
Pete Gallagher	...	First Priest (as Peter Gallagher)
Michael McCarthy	...	Second Priest
Philip Cox	...	Third Priest
Matt Cross	...	Apostle / Ensemble (as Matthew Cross)
Kevin Curtin	...	Apostle / Ensemble
Paul Vickers	...	Apostle / Ensemble
Mykal Rand	...	Apostle / Ensemble

Also Known As:

Andrew Lloyd Webber's Jesus Christ Superstar (Australia)

Runtime:

107 min

Country:

UK

Language:

English

Color:

Color

Certification:

Netherlands:AL | Netherlands:6 | Australia:M | USA:Unrated

Company:

Really Useful Films

Trivia:

Tony Vincent (Simon) played the part of Judas in the 1999-2000 Broadway production of Jesus Christ Superstar.

Quotes:

Crowd: Crucify him! Crucify him!
Pontious Pilate: Behold the man! Behold your shattered king!
Crowd: We have no king but Caesar!
Pontious Pilate: You hypocrites! You hate us more than him!
Crowd: We have no king but Caesar! Crucify him!
Pontious Pilate: I find no reason! I see no evil! This man is harmless, so why does he upset you? He's just misguided, thinks he's important! But to keep you vultures happy I shall flog him!

Movie Connections:

Version of Jesus Christ Superstar (1973)

'Understand what power is'

As a fan of JCS for almost thirty years, I hadn't expected to see as moving, deft, or gorgeous a production -- especially not on film -- as this. Aesthetically, at least, the work seemed locked in its time, as much imprisoned by late 60s guitar music as by the dusty, overwrought 1973 film by Norman Jewison and the various traveling productions that clunkily preserved the era's design fetishes. For the longest time, the best way to approach JCS has been on your stereo. Which is a pity; it's a musical, for chrissakes.

So Gale Edwards' version is a surprise, and a right nice one. She's correct to design and stage this for the post-MTV generation, a decision that pays off hugely in scenes that imagine Caiaphas and his priests as corporate boardroom cutthroats or Simon's beseeching of Jesus to "add a touch of hate at Rome" while the crowd heedlessly and joyously lofts machine guns. If it's flash, it's intelligent flash, keen takes on the themes of revolt and its repercussions. It's witty, too: her Herod doing gay burlesque is the best visualization to date for Webber and Rice's memorable set piece. Some will feel Edwards' gambles in the last quarter of the work - discomfortingly blending bloody realism with the mordantly surreal and the leeringly profane - are reaching, and they are, somewhat, but they don't betray the production. This isn't giddy "Godspell," after all; it's a story about political murder.

The performances by the principles are superb. JCS is really Judas' story, and here Jerome Pradon's skulking, wincing, exasperated Judas is always watchable, and his singing good, although the limits of his range occasionally show. Rene Castle as Magdalene is fine enough to make you forget Yvonne Elliman; her shift between erotic spell and damaged idealism is something to see. Glenn Carter as Jesus, looking something like a youthful Robert Plant and sounding not unlike him, too, conceives his role as a troubled, unsure savior, an interpretation vastly better than those of his many predecessors in the role who relied on know-it-all saintliness (something the play's text doesn't support, anyway). Other standouts: Fred Johanson's stalking fascistic Pilate, and Rik Mayall's hilarious Herod.

Judging from the ongoing appeal of Christianity, the Greatest Story Ever Told doesn't need revitalizing, at least not in the eyes of its adherents, but JCS did. Edwards' many grace notes are perhaps not as important as her best gift to the story: locating it convincingly in a dark and ferocious political world and reminding that the official tolerance for justice, mercy, and charity is no greater two millenia later. Future messiahs, beware.