Jesus Christ Superstar

Jesus Christ Superstar has a long history of adaptation. Beginning with the record in 1970, the western world's best-known story is retold from the perspective of Judas Iscariot in Jesus's final days. The Andrew Lloyd Webber and Time Rice-penned record hit the stage as a rock opera shortly after, and then film in 1973.

In 2000, a modern take on the controversial story preceded its Tony-nominated Broadway revival. While many aspects of the story were updated to fit today's cultural paradigm, Gale Edwards and Nick Morris styled the film more after the stage play than the 1973 Norman Jewison-directed movie that was shot on location in Israel. By using steady shots to bring you into the action and fixed camera angles, they preserve the stage feel on screen.

While many critics objected to this post-grunge makeover, "Superstar" was written to rattle the traditional take on the story of Jesus Christ, which it does by keeping the Christ prophecy open to interpretation by ending with Jesus's death. Thus, this modern take on "Superstar" seems more than appropriate.

So what is different? The most noticeable difference you will find is the graffiti-stained walls of ominously plain stage-based sets where the characters sing, fight and die. There is no elaborate staging or scenic shots. Rather, the film relies on strong performances, the social and political dynamics of the characters, and of course, the singing.

Many feel the cast that Glenn Carter as Jesus and Jerome Pradon as Judas lead into battle, literally and figuratively, doesn't match up to that of 1973. However, I find the opposite to be true and, as is often the case, it is likely because this version was my first encounter with the story. Because of that, I can understand the generation that grew up with this and those preceding it won't take very well to the inner-city militarism of the characters. But to be quite honest, I dig it, even if it does look ridiculous at points.

I won't recount the plot because it follows the story of Christ fairly closely. However, Rice and Webber identify the victims and perpetrators differently. Since the story is driven through the perspective of the leather-jacket wearing Judas, he becomes a more relatable and sympathetic character. Similarly, Pilate is shown to be humane, while Jesus's followers have a violent mob mentality that ultimately leads to his crucifixion.

The DVD's screen and sound presentation is crisp, enhancing the vocals of the entire cast. However, Pradon delivers the standout vocal and dramatic performance, pleading with the man he thinks has let fame go to his head. Opening and closing the film, Pradon delicately pounds out masterfully enunciated ballads to Jesus in "Heaven on Their Minds" and "Superstar."

The lightning rod of his "right-hand man's" concern-turned-to scorn, Jesus's doubts and weaknesses are explored in Rice's lyrics. However, Carter gives life to those lyrics like no other before him in my opinion, striking the fragile balance between emotive vocals and the subtleties of playing the messiah. One interesting addition was the symbolism of Jesus's clothes, beginning in regular cargo pants and a t-shirt and ending in full-blown Jesus-wear. While his character remains plain and pure, everyone else is glamorized in some fashion for the sake of modernity, as is the entire show. Simon's character is taken from a shaggy-haired skeleton of man in 1973 to a spiky-blonde haired rebel with a crazed look in his eye in 2000, while others wear army-style hats and Bob Marley t-shirts.

Other notable elements of the plot include the distinctive Vegas feel that numbers like "Herod's Song" and "Superstar" give off, making this film an entertaining cross between a Las Vegas show and a Broadway production.