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Based on a concept album project written by Andrew Lloyd Webber and Tim Rice, and the subsequent long-running Broadway performance, this film tells the story of the final 6 days in the life of Jesus Christ through the troubled eyes of Judas Iscariot. Too often mis-labeled a musical, this film is a "rock opera." There are no spoken lines, everything is sung.Written by
Ralf Southard <firstname.lastname@example.org>
Norman Jewison based the "Last Supper" tableau on the famous painting by Leonardo Da Vinci, which is located on a wall of the refectory of Santa Maria delle Grazie in Milan, Italy. In doing so, he managed to give the dancers playing the Apostles specific character names. The only flaw is, the singer who plays "Peter", Paul Thomas, is seated in the wrong place. He is on the end, in the position Da Vinci painted "Bartholomew". In the painting, "Peter" is believed to be the apostle whispering to "John", the apostle seated immediately to Jesus' right, our left. See more »
Differences from the source material are not to be counted as goofs. Historical inaccuracies, such as tanks and guns in the year 0033, are also not counted as goofs, especially when related to artistic decisions. See more »
Surely you're not saying we have the resources to save the poor from their lot? There will be poor always, pathetically struggling, look at the good things you've got! Think while you still have me, move while you still need me. You'll be lost and you'll be sorry when I'm gone!
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The Lloyd-Webber and Rice musical comes to the screen, and is nothing like the stage show at all. The deserts are real, although the back story is that this is a theatre company, putting on a production in real locations.
The cast are largely session singers and unknowns - Ted Neeley, delicate and high-voiced as Jesus (particularly superb in `Gethsemane'); Carl Anderson, black and doe-eyed as Judas with hot soul vocals, Barry Dennen as Pilate, and Yvonne Elliman as Magdelene with her big number `I Don't Know How To Love Him'.
One loss for those who know the stage version is being removed from the crucifixion preamble, when the ghost of Judas sings `Superstar' - this was all video camera projection in the theatre, while in the movie we are detached observers. But at other times we get uncomfortably close. And the songs survive the transportation to a more realistic setting (except the added `Could We Start Again, Please?' which sounds rather too much like the Coca-Cola theme for comfort).
Best scenes? The one in the temple; Hosanna; and the Pharisees tapping on their scaffolding perches like crows.
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