Misunderstood Triumph
5
By Mark D R Stern
It is amazing that from Fiddler on the Roof to Jesus Christ Superstar for director Norman Jewison it was only two years. Two films could not be more different.
However the true genius of Jesus Christ Superstar are the lyrics of Tim Rice, and the songwriting of Andrew Lloyd Weber (But it is the lyrics of Tim Rice that makes it great: another songwriter could have written a score).
When fundamentalist Christians protested the London stage play, they were right to do so, but for the wrong reasons. Jesus Christ Superstar is written from the point of view of Judas and Jesus is depicted as a man. There are no pretenses that he is the son of god, or the messiah, or that he was incapable of loving Mary Magdalene, or that he lived and died a Jew. Jesus Christ Superstar is the gospel of Judas.
As a Jew, I understood the first time I saw the film. To this day, many liberal Christians see it as an affirmation of their faith. They need to listen to the lyrics.
Jewison chose for his film actual ruins of Roman occupation in Israel. I have never had it confirmed, but I assume that his minimalistic sets are imposed by the Israeli Antiquities Society and were not an artistic choice. But if it was an artistic choice, it works: you are observing the characters and not elaborate sets.
The costuming and set design are eclectic and anachronistic. But I have law Amy's felt that this was to give the story a context out of time: it could be the first century or the 20th. (After 40 years some elements already date the film).
When Jewison cast the film, he did so color blind: he chose actors for their voices and not appearance. But this did not prevent criticism. Carl Anderson cast in the lead as Judas was black. Ted Neely cast as Jesus was white. The fact that the cast is multiracial, including a black Simon Zealotes, did not prevent criticism that Judas was black. The captivating Yvonne Elliman, an exotic beauty of mixed race was criticized because of her intimate relationship with Jesus. But it should be noted that in the score, while she admits to loving Jesus, Jesus is merely protective of her and receptive to her care.
I must admit that I first saw this in the theatre, before VHS, and went every night to see it. It was the only album I owned at committed the score to memory. I can sing every roll from the overture to the finale.
But why would a Jew include Jesus Christ Superstar among my favorite films and opera? (Jesus Christ Superstar was conceived as a rock opera and was introduced as a double album).
The answer for me is simple: Tim Rice's lyrics are a masterpiece in musical theater. The music is nice, but the lyrics are genius.
Tim Rice captures the essence of Judas' conflicting feelings and Jesus' doubt and reluctance to die. Rice captures the unrequited love of Mary, the messianic dreams of the apostles, the misunderstanding of the Romans, the self serving actions of the priesthood, even the frivolous Herod.
I start crying from the first time Judas speaks/ sings to his final show- stopping finale mixed with the crucifixion when an angelic Judas descends on a crane hook to face Jesus one last time before he dies.
But what is the message, the 2,000 year question?
"Jesus Christ, Jesus Christ, who are you, what have you sacrificed?"
There are some who will take exception to Rice's lyrics, not because they consider them blasphemous, but because he stuck to the gospels as found in the Christian Bible, and not to the historical reality of the brutal Roman occupation of Judea. Case in point is the portrayal of Pontius Pilate as a sympathetic, compassionate person who wants to save Jesus and the inclusion of the Blood Libel used to persecute Jews for two millennia. Pilate was so cruel and quick to crucify that he was recalled to Rome for excessive cruelty. You have to be a pathological tyrant to offend the sensibilities of Romans. But Rice did not stick to the gospels to the letter: in Jesus Christ Superstar there is no resurrection.
Spoiler or often missed trivia: At the beginning of the film, the cast arrives on a bus. Jesus never gets off the bus: he is revealed as the overture fades. At the end of the film, everyone, including Judas, gets on the bus...except Jesus. They leave behind one prop: a cross on the hill.
In the end, Rice and Jewison are still asking the pivotal question: Who are you? What have you sacrificed?
Ignore the rotten egg reviews. There is a very good reason this had a 30 year stage revival and reissue of the album: it is that good then and now.
