Jesucristo Superstar

This film is just amazing. Considering it's from an Andrew Lloyd Webber (English) musical it's incomprehensible to think that it has not yet had a Region 2 DVD release. (Universal, sort it out!)

Released in 1973, the film is very much of it's time. The music is a combination of Orchestra VS rock band, complete with Wah-Wah guitar and fat-back drums. This is a potent combination alone, but then add in the voices of Carl Anderson as Judas and Ted Neeley as Jesus and you have the recipe for musical meltdown. Carl Anderson captures perfectly the ability to convey Judas' emotions whilst singing. Ted Neeley does this also, portraying a a sympathetic and ultimately, heavily troubled Christ.

I am not a religious person, which, whilst helping me to form an unbiased opinion of this movie, would normally have deterred me from ever watching it in the first place.

...I'm glad I did!

This is the sort of movie I can watch over and over again. The scenery and cinematography are breathtaking, the music and the vocal performances are first class and in an interesting, inventive twist, 20th century military hardware is used by the Roman army, adding a surreal, artistic emphasis.

This is one of those movies you should see at least once before you die.

It is also one of my favourite movies of all time.

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.

Speaking for the younger generation, I've never seen anything like it. This movie hit theaters 6 years before I was born and I only just saw it now in Nov. 2004. and I was so moved that I had to comment. Visually it was psychedelic, and the editing matches the music masterfully.

The music rocks! Carl Anderson is beyond amazing as Judas, and ALL of the performances are really magnetic. I love singing along with Annas, Jesus, and Kiafass. I mostly listen to KoRn and Rap, so I never expected to remember (rock opera) lyrics and run around performing them. The feeling I got when 1st "experiencing" the movie was trippy. Similar to a live concert. The movie is outstanding and in my opinion will last for generations and generations. It speaks to a part of my soul and spirit.It says "right on" "rock on"

I saw this film for the first time in the mid 70's at a cinema on a school organised outing, I remember being peeved as it was being shown on TV for the first time the same evening. I was aware of one or two of the songs but I had never heard the original concept album before hand so I really had no idea what to expect. I was transfixed from the Overture to the End Titles and probably have not had a more moving experience watching a film since. I have been a devoted fan of this film now for over 25 years and still find the occasional viewing moving. The film was unique, the first Rock Opera given the Big Screen treatment and this is still in my opinion the best of its genre. Of course the Music and Lyrics are the fulcrum of the film and the numerous album recordings are still popular now because the songs are so unforgettable but the performances of all the principle characters in this original film version give this interpretation a dynamic edge. All the cast probably give their definitive performances but without any doubt Carl Anderson as Judas is the real KING. Rest In Peace. For all you long term fans like me get the new Region 1 DVD special edition with improved sound and picture quality and extras especially the commentary with Norman and Ted- you'll cry your heart out. Thanks Carl, I will never forget the impact your performance has made on my life. Thank you ALW, Tim Rice and Norman Jewison for an unforgettable Spiritual experience.

I've heard much criticism of this film over many years, and the most annoying criticism is that it didn't have the vitality of the stage productions back "in the day". There isn't much many of us can do about that, though I did see a road production of it about 7 or 8 years ago.

The most interesting thing about this film is that it was set in "modern" times, rather than in biblical times. Roman soldiers wearing shiny helmets, and carrying machine guns is a real attention grabber. The ruins used in the film added another fascinating aspect to the production. In short, the anachronistic approach in the visuals, the lyrics, and the music itself make this a genuinely unique, and clever film.

I thought all the acting, singing, and dancing was great, and still appears to be rather fresh and modern. The lyrics were the most memorable of any movie I've ever seen. There were many of us that could quickly memorize the entire opera from listening to the soundtrack (no videos back then), and have much fun "play acting" ourselves.

The use of Judas as a primary character was probably the single most important aspect of the film. One has to wonder how Judas became one of the inner circle of disciples if he was such an evil crud to begin with. In church he is simply mentioned as being a traitor. The film/musical asks us to think more on this individual, and speculate as to his true nature as a human being. The only other person I know of that attempted to do this was Taylor Caldwell in her novel "I Judas". The point that the crucifixion/resurrection hinged on the betrayal of Judas, should make any Christian wonder if God actually worked through him, and that he wasn't actually "damned for all time."

People seem to be offended by the light-hearted (and hysterically funny!) "King Herod's Song." What does the Bible say about this meeting? Certainly it doesn't say that this was an amicable meeting, and indeed, I seem to remember Jesus being beaten on the palace grounds. The look on Neely's face throughout the Herod song-and-dance is one of seriousness that belies the true nature of what was going on in this scene. This served to remind the viewer that this wasn't sheer levity, and held the scene together in its proper context until it ran full circle with Herod "spazzing" and showing rabid, rather than merely sarcastic hatred for Christ at the end. This was sheer genius and master film craft in my book. I don't think Jesus' expression would come out as well in the stage version. The reservations Pilate had about authorizing the crucifixion seem to come out in the Bible as well. So-called Christians hold Pilate responsible, though there was probably many political things going on that are only vaguely alluded to in the Bible. Non-biblical tradition says that he and his wife, Claudia Procula, eventually converted to Christianity themselves. Who knows?

My least-favorite parts: "I Don't Know How to Love Him" reminds me a lot of "As Long as He Needs Me" in Oliver!. Both songs are plodding, and brings each film to a screeching halt. I believe that this was actually intended to be a pop song, but was thrown in when Webber and Rice were composing the opera. Still, Judas singing this through his tears towards the end of the film was very chilling. "Hosanna, Hosanna" I also find to be rather trite...still...the last stanza never fails to give me goose bumps when the crowd asks if Christ will die for them. Simon Zealot's prolonged screaming (and off key/beat) never fails to annoy me...then again, he was a rebellious zealot after all. The "falling down push up" move in this dance sequence bugs me, too. Another part that bothers me is that suddenly it was Pilate's dream, rather than his wife's as stated in the bible. I guess they did this to narrow the canvas (simplify the number of key characters). But, what a beautiful song! And, I thought the fact that nobody in the cast looked to be much over 25 was kind of weird.

My favorite parts: Caiphas' baritone and Annas' falsetto counterpoint. "Too Much Heaven on Their Minds." The guy with the froggy voice heckling Christ as he's shuffled between Herod and Pilate. The gorgeous girl in the purple shirt (dancer in the Zealot scene)...WHO IS SHE????? Any scene with Judas in it. The montage of crucifixion scenes. The great guitar (all the instrumentation for that matter), and something I wish they had MUCH more of in the movie, that incredible electric piano. I would buy just the instrumental track if it was available.