Diagonaldi Very well executed

ReaderKenka Let's be realistic.

Tedfoldol everything you have heard about this movie is true.

Lidia Draper Great example of an old-fashioned, pure-at-heart escapist event movie that doesn't pretend to be anything that it's not and has boat loads of fun being its own ludicrous self.

Troll_Dahl First of all, I really want to say that I'm not in the "let's hate on Jerome Pradon" gang. Pradon has taken some fire for his portrayal of Judas but I really think the vitriol is undeserved in many cases. Pradon's voice and approach are different to the classic Carl Anderson portrayal l but their supposed to be. Give him a chance. In my opinion, Pradon gives a Judas who is conflicted, torn, twisted, pained, and pent up. You really need to watch his performance, and watch it carefully, to get the full effect of his characterization. He doesn't belt it out like Carl Anderson, but the fact that this is musical theatre at least as much as rock doesn't bother me, though it obviously niggles some. Nonetheless on their own, his vocals wouldn't be earth- shattering, although I quite enjoy hearing the hints of French in his enunciation and the soft yet still rock-tinged and sometimes edgy European sound about them, but when you watch him, Pradon is a born actor. He acts every sung line and his physical/visual performance is wonderful.There's comedy but there's also drama and angst in his performance. He makes Judas human and multi-dimensional. He does tend to wail when singing but nonetheless, The Last Supper is amazing at times in terms of emotional delivery as is the moment of betrayal. The connection between Judas and Jesus in that moment could not have been more effective. Judas ' Death is painful--but it's meant to be. The staging when Judas is alone singing I Don't Know How to Love Him is beautiful-- filled with primal emotion. Judas is splayed on the floor, looking almost like he himself is being crucified at one point. And the staging of Superstar, the title number, is really interesting in this production. It's just a completely different approach to the song and the vocals. That sequence, along with Pradon's version of Damned for All Time/Blood money are phenomenal and it's largely down to Jerome Pradon, who makes the character his own in a totally unique way. Let him not be Carl. He's Jerome. Let this be Jerome's Judas; don't demand that it be Carl's or Murray Head's.Otherwise, this production of Superstar is eye-catching, visually engrossing, and representative of a complete vision in its staging. Its setting leaps to life with a postmodern production design including broad strokes of distopic imagery. The back wall is covered in graffiti. Starting with a great close-up of a graphitized "HATE", much of the Overture is spent in close-up shots and pans across the wall, allowing us to really take in the designs. I find this device fascinating. It gives us a powerful sense of this story's setting; the life and times of the characters. The setting in this production carries an environment of heightened reality.Glenn Carter has a strong voice and is generally solid as Jesus. Other highlights include Fred Johanson's Pilate and Michael Schaeffer's Annas. The former is a striking new characterization, painting Pilate as a weak man in the guise of a strong one, a man who seems to view his role to be as much that of a showman as a governor and who lives in terror of losing the people's support. Annas is remarkable just for being a perfectly detestable villain.Drawing parallels with sociopolitical dynamics of today, disciples are portrayed as l revolutionaries rebelling against the Roman Empire. In this production, the segment beginning with Hosanna and moving directly into Simon's song perfectly exemplifies why Judas fears the "Jesus movement" is beyond anyone's control and is dangerous.There's an interesting moment immediately after I Don't Know how to Love him. Pradon's Judas catches Mary about to kiss Jesus, who is asleep. It does show the nastier smug side of this Judas that some people really don't like, but what's interesting to me is that the moment is played entirely with visuals, set to that fantastic piece of Lloyd Webber scoring that leads into Damned for All Time.Judas, Mary, and Jesus (who awakes on Judas' arrival) express their feelings only through their facial expressions. You can see the wheels turning in characters' heads from moment to moment. The intense lighting on Judas as we see a change come over him is the perfect finishing touch.This sequence captures what I like most about this production of Superstar, along with its emotional depth and three-dimensional character treatments: through visual abstraction, it paints an intense hyper-reality that represents characters' feelings and actions more than it directly shows them at times. Through its visuals, it is at times akin to visual poetry or a cousin to ballet. In Judas' Death the noose is lowered onto to the stage by unseen hands, presenting itself to him. During Blood Money, Judas crawls from the priests in a futile attempt to escape fate and Jesus later does the same, crawling desperately from the crowd baying for his blood as Pilate gives the death sentence.This Superstar is visually stunning at times in a way completely different to the equally powerful cinematic rendition. It uses a unique medium of visual storytelling to convey drama in a uniquely compelling way. Watch the final moments, as Jesus' body is placed on the stage. Gradually, the characters depart until only Judas and Mary, the two other key players, are looking on. And Judas fittingly does witness and feel the Crucifixion in this version even though he is dead. Judas and Mary, who have been stretched with tension throughout the story, stand together over Christ's body. This is a portrait of the characters and emotional journey of the play. It is poetry composed by moving people on a live canvas. It is visual and kinesthetic poetry. In short, it is theatre.

Scott Baldwin (Meven_Stoffat) Happy Easter, everyone!!! Love is in the air!!!... just not on IMDb, and especially not on my review of this demolition of a classic.I'm one of the few who thinks Andrew Lloyd Webber is the worst thing to happen to musical theatre and the cause of the downfall of modern society. I think that JCS is quite possibly the ONE good thing that he has ever been a part of, and it was one of my favourite movies as a child. This weekend, this remake aired on TV, and I figured this would be a good watch, eh? No, actually.First off, the look of the movie is incredibly awful. I totally don't believe this was shot at Pinewood- for starters, this film looks like a cross between a commercial for some 1990's street clothing company, and a Colour Me Badd music video. What's with all the graffiti??? Are they trying to make this a "street tough" JCS??? Lots accuse the 70's movie of being too "hippie", but I respectfully disagree, and besides, even if it was, it still would be way better than this trainwreck of a film. Especially hilarious was the Pilate's Dream scene... it looked like a gay porn spoof of Aladdin.The cast is HORRIBLE!!!! The one good performer in this is Tony Vincent... shame he got a role so small (Simon) and below his INCREDIBLE range!!! And why does he look like a gay stripper in this movie???? He should have been Judas. Speak of the devil (no pun intended), Jerome Pradon is quite possibly the worst singer ever to make it to the stage. His voice is so nasal and whimpy. And then there are times I thought I was listening to Yogi Bear singing. I actually laughed during Heaven on their Mind, when he yelled "JEEEEEESSSUUUUUSSSSS!!!!!!!!!!". Actually, since I recorded this on my PVR, I go back and rewind that part over and over if I need a laugh. Then, there's Glen Carter... and even he sucked!!!! His falsetto was so bad, he even made me laugh in the wrong places too. "MOOOOOOOOOOOYYYYYYY TAMPLAH SHAD BEEEEHHH A HOOOOSEEEE OF PRAAAAHAAAAYAAAAHHHHRRRRRR!!!!!" don't get me started. Those calling him good, GET YOUR EARS CHECKED. Also, I love when he over-emphasizes "obssessed" in "What's the Buzz"... "Whah ah you Obsessed with faaaatttting!!!!!" Mary sounds like she's singing with her throat. Pilate?? Let me just say he has nothing on Barry Dennen's kick-ass rasp that totally added.As for the production in general... I gotta give props to Tony because he really acted and sang his face off in this trainwreck. Why did they make Judas a leather jacket-wearing punk who acts creepily around women (what was with the flirting during "Everything's alright"? Why does Herod look like Al Capone??? Why does Jesus come off as a wimp who looks like Robert Plant in a wifebeater??? Why does Judas wear red in the finale and sing spitefully in Jesus' face during "Superstar"? WHy does Jesus cry like a baby during the crucifixion? Why does Jesus deliver his final line like "I commend... MYYYYYYYYY SPPPIIIIIIIIIIIRIIIIIIIIITTTTTTTTTTT!!!!!!!" (on the same topic, does whoever directed this think a man who got whipped senselessly, forced to carry his own cross, nailed and hung from the cross have the energy to do that?!?!?!?!)?. Oh, and don't forget, I was just yelling "Hurry up and die already!" at the screen during the crucifixion... not a good sign.Just avoid this disaster. Seek the 73 version out because it's a rockin' movie, and Carl Anderson and Ted Neely FTW.

Elizabeth Alexander I thought this was an adequate performance but it's definitely not as good as the 1973 version. Carter seemed too angry, especially toward Judas. I have never, in any version of the story, ever felt that Jesus was angry at Judas, but rather forgiving if not supportive. Jesus did, after all have a choice in if he wanted to follow God's plan, being human and granted free-will. It may just be my opinion but Judas served in a necessary role and Jesus, knowing this, should not be so upset and dismissive of Judas. After his song 'Gethsemane' I always get the feeling he's still silently asking Pilate for help. He's already made up his mind to die but he's still trying to get out of it and I just don't see Jesus as doing that. Not that he can't still have doubts but that he shouldn't be so open about them.Pradon served the role of Judas well though he was not the best they could have cast. Personally I felt cheated when I learned that Tony Vincent who played Judas on the 2000 Broadway revival of JCS instead played Simon in the film. He was good enough on Broadway so why was he passed over for the film? Pradon himself said his voice isn't good enough for a staged production. But I did enjoy how he sang his part so heartbroken which is what I saw the character as, not evil but torn over his love for his friend and his worries over Jesus' followers getting out of hand. I also found it difficult to really tell when Judas comes back as an angel to sing 'Superstar' to Jesus as he carries his cross. Whereas in the 1973 version he descends on a star from above.Another problem I have with the film is with Mary Magdalene. I don't appreciate that they saw fit to insinuate that there was a romantic aspect to her and Jesus' relationship. When she decides to kiss Jesus while he is sleeping during her song 'I Don't Know How to Love Him' I still get angry. I don't care that she's in love. She should have more self-control than to go around kissing men especially given her reputation. Even if Christ isn't concerned about how others see him she should at least not make it any worse.All in all the only part I enjoyed about the performance was Judas' singing in his red leather jacket at the end and the fact that Tony Vincent was in front of the camera even if he wasn't a huge part of the story. I'd recommend it only if you can't get your hands on the 1973 Jesus Christ Superstar. No one can sing Jesus like Ted Neely; Judas like Carl Anderson; or Mary Magdalene like Yevonne Elliman.

me43 This version of Jesus Christ Superstar illustrates two truths about casting for the silver screen: First, stage actors don't necessarily translate well to film.Secondly, the same material in different hands can either make or break a production.Carter's Jesus has no charms whatsoever. He is whiny and petulant, angry and defiant, and chews up the (scant) scenery at a mile a minute.Carter looks like a robust Lt. Dan, sans beard, and has more than a hint of confusion about him. Ted Neeley's Jesus oozed compassion and understanding, for both Mary and Judas, but this version lacks compassion for anyone. Jesus, in fact, comes across as self pitying, and arrogant.Judas seems to be a frustrated homosexual in lust with the man himself, and the gestapo Jews are just bizarre.I could go on and on, but why waste any more precious moments on this very bad production of a beloved classic?