Introduction

Jesus Christ Superstar is an aesthetic work which uses the symbolism and perspective of the Canonical Gospels to create a new theology dealing with the life of Jesus and the nature of his ministry. Tim Rice and Andrew Lloyd Webber, who wrote and adapted Superstar's original score to the stage, combined their ideas with director Norman Jewison to make the film. It was filmed in Israel, and the cast was comprised of people from a wide range of ethnicities who were mostly in their late twenties/early thirties, and who appear to be the remnants of the "flower children" of the 1960's. When it debuted on the screen in 1973, it created huge amounts of controversy and tension among African-American and conservative Christian groups.

To fully understand Superstar's message, one must not simply look at its use of ancient and modern symbolism or its use of the Gospels, but rather at how all of these themes contribute to the entirety of the production. For example, if one were to only focus on the film's lyrics in a biblical context, they would not see how the influence of this ancient and modern symbolism contributes and relates to Rice's lyricism.

The film presents a radical interpretation of orthodox Christian theology through its portrayal of Jesus, Judas, and other popular characters of the Gospels, as well as through its message concerning the foundation of the Christian faith. For example, the film's main character appears to be Judas who is played by Carl Anderson, an African-American singer/actor.

The purpose of this essay is to determine the theological message of the film through a close scene and character analysis, coupled with a section of biblical backgrounds of the characters and several of the key the episodes that the film adopts and alters. First, the section of biblical background will deal chiefly with the film's main characters (i.e. Jesus, Judas, Magdalene, and Pilate) and how they are portrayed in the Gospels. Second, the film analysis will be broken down into three parts: 1) a look at the interrelationships between Jesus, Judas, and Mary Magdalene-"The Triangle"; 2) God's role within the film and His/Her control over Jesus, Judas, and Pilate, "God and Jesus, Pilate, Judas"; 3) and lastly an overview which, based on the data gathered in the previous sections, attempts to look at the film as a whole, "The Message of Jesus Christ Superstar".

The essay's format will be begin with the biblical backgrounds and proceed to the analysis sections.

Below is an outline of the movie that I have used for my scene analysis, which includes the film's structure, as well as a list of lyrical appearances for all of the movie's main characters:

I. Structure

A. Two Acts

1. Overture-Damned for All Time/Blood Money, 14 songs

2. The Last Supper-John 19:42, 12 songs

B. Beginning of 1st Act and the end of 2nd Act both are songs with no lyrics

II. Lyrics of the Characters

(The Triangle)

A. Judas

1. Heaven on Their Minds, (solo), song #2

2. Strange Thing Mystifying, (Judas, Jesus, Simon, All) song #4

3. Everything's Alright, (Judas, Magdalene, Apostles' Wives, Jesus) song #6

4. Damned for All Time, (Judas, Caiaphus, Annas) + Blood Money, (with Heavenly Choir) song #14

5. The Last Supper, (Judas, Jesus, Apostles)

song #15

6. Judas' Death, (Judas, Caiaphus, Annas, Heavenly Choir) song #22

7. Superstar, (Judas [voice of?], Heavenly Choir)

B. Jesus

1. What's the Buzz, (Jesus, Apostles, Magdalene) song #3

2. Strange Thing Mystifying, (Jesus, Judas, Simon, All) song #4

3. Everything's Alright. (Jesus, Judas, Magdalene, Apostles' Wives) song #6

4. Hosanna, (Jesus, Caiaphas, Crowd) song #8

5. Poor Jerusalem, (Solo) song #10

6. The Temple, (Jesus, Moneychangers + Merchants, Crowd) song #12

7. The Last Supper, (Jesus, Judas, Apostles)

song #15

8. Gethsemane (I Only Want to Say), (Solo) #16

9. The Arrest, (Jesus, Peter, Apostles, Crowd, Caiaphas, Annas) song #17

10. Pilate and Christ, (Jesus, Pilate, Soldier, Mob) song #19

11. Trial Before Pilate, (Jesus, Pilate, Caiaphas, Mob) song #23

12. Crucifixion, (Solo) song #25

C. Mary Magdalene

1. What's the Buzz, (Magdalene, Jesus, Apostles) song #3

2. Everything's Alright, (Magdalene, Jesus, Judas, Apostles' Wives) song #6

3. I Don't Know How to Love Him, (Solo) song #13

4. Peter's Denial, (Magdalene, Peter, Maid, Soldier, Old Man) song #18

5. Could We Start Again Please?, (Magdalene, Peter, All) song #21

(Authorities)

D. Pilate

1. Pilate's Dream, (Solo) song #11

2. Pilate and Christ, (Pilate, Jesus, Soldier, Mob) song #19

3. Trial Before Pilate, (Pilate, Jesus, Caiaphas, Mob) song #23

E. Caiaphas and Annas

1. Then We Are Decided, (Caiaphas, Annas) song #5

2. This Jesus Must Die, (Caiaphas, Annas, Council) song #7

3. Hosanna, (Caiaphas, Jesus, Crowd) song #8

4. Damned for All Time/Blood Money, (Caiaphas, Annas, Judas, Heavenly Choir) song #14

5. The Arrest, (Caiaphas, Annas, Jesus, Peter, Apostles, Crowd) song #17

6. Judas' Death, (Caiaphas, Annas, Judas) song #23

7. Trial Before Pilate, (Caiaphas, Jesus, Pilate, Mob) song #23

F. King Herod

1. King Herod's Song, (Solo) song #20

(Apostles)

G. Peter

1. The Arrest, (Peter, Jesus, Caiaphas, Annas, Apostles, Crowd) song #17

2. Peter's Denial, (Peter, Maid, Soldier, Old Man, Magdalene) song #18

3. Could We Start Again Please?, (Peter, Mary, All) song #21

H. Simon

1. Strange Thing Mystifying, (Simon, Judas, Jesus, All) song #4

2. Simon Zealotes, (Simon, Crowd) song #9

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There are not too many sources available that deal with the theology of this film. For this essay, I used a copy of the film, a hard copy of all of the lyrics, and several Gospel commentaries to shape and reinforce my biblical and scenic analyses.

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BIBLICAL TRADITIONS

Mary Magdalene

Mary Magdalene is played by Yvonne Elliman, an extremely talented Native American singer/actress. Magdalene, like Judas, does not have a large role in the Canonical Gospels, but she has become an intriguing biblical character. Many people have speculated that she served as some kind of love interest for Jesus--an unknown apostle who shared a "special" relationship with Christ. In Jesus Christ Superstar Tim Rice and Norman Jewison examine the temptations that Mary and Jesus represent for one another. Magdalene's role (like those of Superstar's Judas, Pilate, and Jesus) is augmented, which allowed Rice and Jewison to speculate more upon the possible relationships between her and other major characters appearing in the film.

The Gospel According to John definitely has the most amount of text devoted to Magdalene. In John 7:53-8:11 we see the popular stone-throwing scene that has been used to characterize Magdalene in many of the films and stories dealing with the Jesus narratives. The scribes and Pharisees bring an adulterous woman before Jesus to test his adherence to Jewish law. The author never names the woman, but Jesus saves her by saying, "Let anyone among you who is without sin be the first to throw a stone at her". The woman is saved, and forgiven by Jesus.

There is a woman named Mary at the tomb of Lazarus in 11:28. She is the sister of Martha and Lazarus. She shows faith in Jesus, and he brings Lazarus back out of pity for Mary's sorrow. The story of Lazarus being raised from the dead is unique to John.

John mentions the same Mary again at the Anointing at Bethany in 12:1-8. All four Gospels contain the story of the Anointing, but only The Gospel According to John identifies the woman as Mary. In this episode John plays upon a triangular relationship (or conflict) between Jesus, Mary, and Judas. Mary anoints Jesus with an expensive perfume and Judas objects to her use of the money (not because he cares about the poor, but because he wanted the money for himself). Jesus cuts Judas off by saying the ointment is for his burial. Therefore, the author has shown Jesus and Mary to be righteous through the shortcomings of Judas.

During Jesus' crucifixion in John 19:17-30, the only followers of Jesus that are present are women: Mary the mother of Jesus, her sister Mary the wife of Clopas, and Mary Magdalene. Mary Magdalene, in 20:1-18, goes to Jesus' tomb and discovers that the stone has been removed. She then reports the news to Simon Peter and the Beloved Disciple so that they can see what has happened. The disciples return home, but Mary remains at the tomb weeping. Jesus appears to her and commissions her to inform the other disciples that he has risen from the dead.

The Gospel According to John highly emphasizes the role of women, and Magdalene is at the forefront of this emphasis. She shows more faith and devotion than many of the twelve disciples, and Jesus chooses her to appear to first. Jesus also has number of private dealings with her--dealings that he does not have with many others from the twelve chosen. A certain noble quality is bestowed upon women in John, and Rice and Jewison appear to associate this quality with their own portrayal of Magdalene in Jesus Christ Superstar.

The Gospel According to Luke has some passages that resemble the "Magdalene episodes" of John. There are, however, several key differences between these two sets, as well as a few new passages that are not found in John.

Luke 7:36-50 contains an anointing scene, which is only somewhat similar to the one we saw in John 12:1-8. The anointing in Luke is situated during the early period of Jesus' ministry, while in John it directly precedes the Last Supper. In Luke a woman comes to wash Jesus' feet while he is eating at a Pharisee's home. Jesus makes an example of the woman, saying in 7:47, "Therefore, I tell you, her sins, which were many, have been forgiven; hence she has shown great love. But the one to whom little is forgiven, loves little". The woman is not named, and this is the only mention in Luke of Jesus being anointed by a woman.

Directly following Jesus' anointing is a section of Luke which speaks about Jesus' women followers. In 8:1-3, we see that while Jesus was preaching and spreading the "good news", the twelve were with him, "as well as some women who had been cured of infirmities: Mary, called Magdalene, from whom seven demons had gone out, and Joanna, the wife of Herod's steward Chuza, and Susanna, and many others who provided for them out of their resources". Therefore, according to Luke, Magdalene was a sinner who was possessed by demons before she met Jesus. (Jewison has a scene in Superstar where all the women are caring for the men as they go to sleep--"Everything's Alright".)

Luke tells of another woman named Mary in 10:38-42. This woman could be Magdalene, but it is doubtful because the author has already been referring to her by the name "Mary, called Magdalene" (8:2). In this section Jesus pays a visit to Martha and Mary who are sisters. Martha is busy with her work, but Mary sits and listens to what Jesus has to say. When Martha complains to Jesus that she has too much work because Mary is not helping her, Jesus answers, "Martha, Martha, you are worried and distracted by many things; there is need of one thing. Mary has chosen the better part, which will not be taken away from her". Although it is not safe to assume that this Mary and the "Mary, called Magdalene", are one in the same, 10:38-42 gives us yet another example of women showing an extraordinary amount of faith and understanding in response to Jesus' ministry.

In 24:1-12 the women come to anoint Jesus' dead body. Jesus appears to them, and they set off to tell the rest of the apostles. The author names the women in 24:10 :"Now it was Mary Magdalene, Joanna, Mary the mother of James, and the other women". Notice that Magdalene and Joanna have also been named in the previous section dealing with the women followers of Jesus.

The Gospel According to Luke also gives a significant amount of notoriety to women--especially to those named Mary and Magdalene. There are women "beating their breasts" at his crucifixion, and they, as they were in John, were the first to see the resurrected Christ. Magdalene was also a reformed sinner in Luke.

The Gospel According to Matthew does not contain any real evidence that Jesus had any true women followers. The anointing of Jesus is in 26:6-13 and the woman is not named. This scene is almost identical to the anointing in Luke and John. The text identifies Magdalene in 27:55-56 as being one of the several women at the crucifixion. Magdalene is also present at the actual burial of Jesus in 27:57-61, and she seats herself with "the other Mary" (probably the mother of James) at opposite ends of the tomb.

When the two Marys return to the tomb after the end of the Sabbath in 28:1-10, they witness an earthquake (as well as lightning) and an angel who is sitting on top of the rolled away stone. They go away to inform the disciples and Jesus greets them en-route.

The Gospel According to Mark is rather similar to Matthew in its level of inclusion of Magdalene. The woman who anoints Jesus in 14:3-9 is not identified by the author, and we do not see Magdalene until 15:40 when Jesus dies on the cross. Magdalene and Mary the mother of Joses see where Jesus' body was laid in 15:47. Again, in 16:1-8, both Marys go to the tomb to anoint the body when they are confronted by an angel who tells them Jesus is gone. Mark, however, concludes in an odd fashion: the women depart from the tomb in amazement and fear and say nothing to no one. They then tell the apostles , and that is all.

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Judas Iscariot

Judas is played by Carl Anderson, an incredibly gifted African American singer/actor. Most of the controversy attributed to Jesus Christ Superstar stems from the film's portrayal of Judas Iscariot and his relationship with Jesus and God. The issues of race, and suicide by hanging, contributed to the tensions surrounding Superstar when it debuted in 1973. The added dialogue and increased role of the Judas-character also played a large part in making this production a radical alteration of the Canonical Gospels.

There is not a significant amount of text dedicated to Judas Iscariot in the four Gospels of the New Testament. Tim Rice seems to have used bits and pieces of this biblical "Judas text" to lay the groundwork for his own Judas-character. Rice used a combination of the two biblical Judas portrayals (John/Luke + Matthew/Mark) and added his own personal twist to complete his character. It is apparent that Rice, however, created his Judas through the use of a hybrid Matthew/John portrayal.

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In The Gospel According to John Judas is first mentioned in 6:70-71. Jesus is addressing his twelve remaining followers because many others have left due to the difficulties in following Jesus' teachings. Jesus chooses the twelve, but he says that one of them is a "devil". The narrator, in 6:71, tells the reader that Jesus was referring to Judas Iscariot because he will soon betray Jesus.

Judas appears again in 12:1-8 when Mary anoints Jesus in Bethany, in the home of Lazarus. Judas protests to Mary's actions, saying that the money used to purchase the ointments could been better spent on the poor. The narrator in 12:6, however, informs us that Judas was a thief and that he wanted the money used for his own personal benefit. Jesus replies by saying that the ointment is to be kept for the day of his own burial--another foretelling of his coming death. Judas, again, is named by the author as, "the one who was about to betray him (Jesus)."

Judas resurfaces at the Last Supper in John 13:21-32. Jesus foretells his death and states that his betrayer is among the twelve apostles. Jesus says (12:26), "It is the one to whom I give this piece of bread when I have dipped it in the dish". After Judas receives the piece of bread from Jesus, Satan enters him. This plot-progression is unclear. Why did Satan enter Judas? Did Jesus or God want this to transpire? Up until this Last Supper scene, the author has not given his/her audience any kind of motive that Judas might have for betraying Christ. Judas is simply a corrupt individual who likes to steal money. Only the author and Jesus have told us that Judas will be the betrayer.

After Judas leaves the Last Supper, Jesus says to the remaining followers (13:31), "Now the Son of Man has been glorified, and God has been glorified in him". Judas' actions have allowed this glorification to come about. It does not matter whether or not Judas is good or bad, because the point is that Jesus and/or God needed someone--a betrayer--to complete their plan. The author is clearly telling us that Judas was necessary, and even vital for the fulfillment of Jesus' mission.

John 13:18 is an interesting verse and it deserves our attention. It reads: (Jesus) "I am not speaking to all of you; I know whom I have chosen. But it is to fulfill the scripture, 'The one who ate my bread has lifted his heel against me'". Clearly, Jesus could be speaking about Judas here, but he also could be referring to the Beloved Disciple in the first half of the verse. Either way, there is a sense of conflict in Jesus' tone. Judas is the one who eats the bread, but it appears that he is chosen simply to fulfill the scripture. Judas is used by Jesus or whomever, to complete the cycle. Therefore, as I mentioned earlier, he is a necessary character in this story, as he is in Jesus Christ Superstar.

John 17:12 adds to the necessity of Judas. Jesus is praying to God in the garden, asking Him/Her to watch over the disciples. Jesus continues by saying that the only one of them that was lost was, "the one destined to be lost, so that the scripture might be fulfilled". John 13:18 and 17:12 demonstrate the importance of the fulfillment of scripture. John seems to be implying that Jesus, Judas, and others have no choice because they must follow the course of the scripture--that is their fate. These scriptures came from prophets through whom God spoke. Therefore, these are God's words that Jesus and Judas are fulfilling.

Judas' last scene in John is in the garden when he brings a detachment of soldiers and police to arrest Jesus. In 18:2, the author tells us that Judas was already aware of where Jesus would be, because Jesus often met there with his disciples.

The Gospel According to John does not go into any detail concerning Judas's future after his betrayal of Jesus. There is no indication that he died immediately after, or that he committed suicide.

The Gospel According to Matthew differs from Luke and John, because it makes an effort to illustrate that Judas' act of betrayal was motivated by his desire for money, rather than being possessed by Satan. In addition, Matthew is the only Gospel in which Judas "repents" and commits suicide. Therefore, Matthew also introduces the notion of Judas' "tragic fate", as well as the ambiguous theme of "forgiveness".

Judas is introduced in 10:4 when the author names the twelve apostles. The author names Judas Iscariot as "the one who betrayed him (Jesus)." In 10:1 Jesus gives all of his disciples authority over "unclean spirits" and powers to cure every disease. Therefore, at this juncture, it appears that Jesus is unaware that Judas is going to betray him. Furthermore, it is not clear whether or not Jesus knows that he will die. It is not until 16:21-23 that the author tells his/her audience that Jesus is aware of his impending death. Consequently, it can also be inferred that Jesus is not fully aware of his destiny at all times. Perhaps he is given relevant information on a kind of need-to-know basis. This theory does not necessarily have to be true, but I believe Rice picks up on this line of thinking and uses it to characterize Judas and Jesus.

As I stated earlier, Judas' motivation for betrayal in Matthew is clearly the money that is given to him by the chief priests. The language in 26:14-16 is almost identical to Luke 22:3-6, however in Matthew there is no mention of Satan having anything to do with Judas' actions. Matthew's account of Judas is unique and as Stephenson Humphries-Brooks points out, "among the Gospels, only Matthew develops the story of JUDAS and does so as one of a pair of negative examples of discipleship. The other is PETER" (Mercer Commentary, p. 970). Matthew is showing that Judas is an example of how not to follow Jesus.

Matthew 26:21-25 is also similar to the Last Supper scene found in Luke 22:21-23. Jesus says in Matthew 26:23, "The one who has dipped his hand into the bowl with me will betray me. The Son of Man goes as it is written of him, but woe to that one by whom the Son of Man is betrayed! It would have been better for that one not to have been born".

In Matthew 26:26-29, the author could be suggesting a possible redemption for the unfaithful disciples. Despite the fact that some of his apostles have been unfaithful, Jesus makes them a promise in 26:28-29 which mentions the "forgiveness of sins" as well as a future reuniting with Jesus and his apostles. Humphries-Brooks adds that, "set within the action of Peter and Judas, the words of Jesus take on a particular poignancy. The use of the plural you in 26:29 may well imply that even the betrayer will be found in the kingdom" (Mercer, p. 970). If we accept this theory, then Judas' redemption is a distinct possibility. We recall, in Superstar, Judas reappears and preaches to Jesus after he has died. Judas is clad in white angelic fringe that tell the audience that he was forgiven by God for his sin.

The death of Judas in Matthew is almost identical to his death in the film. In Matthew 27:3-10 Judas repents and gives the money back to the chief priests: "I have sinned by betraying innocent blood". He throws the silver pieces on the Temple floor and runs off. This scene is important both in its content and positioning within the entire text. Humphries-Brooks states that, "the scene stresses the guilt of the religious leadership and the innocence of Jesus, as well as Jesus' obedience to God's will indicated by a citation of prophecy" (Mercer, 971). Judas hangs himself. It is important to keep in mind that in all of the Gospels, Judas is the only disciple to recognize Jesus' innocence, and Judas is the only unfaithful disciple who repents for his sins.

The portrayal of Judas in The Gospel According to Luke is somewhat similar to The Gospel According to John. He is first mentioned as being one of the twelve disciples in 6:16, and the author also tells us that he is a "traitor".

We do not see Judas again until just before the Last Supper in 22:1-6. Luke 23:1-2 tell us that the Passover was near, and that the scribes and the chief priests were looking for some way to kill Jesus because they were afraid of the people. The author makes a leap to myth in 22:3 by bluntly saying that Satan entered into Judas. The author, unlike the author of The Gospel According to John, gives no plausible explanation as to why this occurred. It remains clear, however, that Judas was possessed by evil. In 23:4-6, Judas collaborates with the scribes and chief priests as to how to bring Jesus down. They are pleased to see Judas and they offer to pay him. Judas accepts their payment and begins to look for an opportunity to betray Jesus.

At the Last Supper, in 22:21-23, Jesus says, "But see, the one who betrays me is with me, and his hand is on the table. For the Son of Man is going as it has been determined, but woe to that one by whom he is betrayed!". We see a more angry Jesus in Luke than in John. Jesus is aware of his mission, and Judas, the betrayer, is definitely damned. Again, there is a strong sense of preordained fate--fulfillment of scripture (God's word).

In 22:47, Judas comes to Jesus in the garden leading a crowd. Judas goes to kiss Jesus, but Jesus says, "Judas, is it with a kiss that you are betraying the Son of Man?". This is the last scene that involves Judas in The Gospel According to Luke.

Judas reappears in the Book of Acts. Early Church tradition attributes the writing of both The Gospel According to Luke and the Book of Acts to Luke, a physician and associate of Paul (Col 4.14;2 Tim 4:11; Philem 24). Whether or not Luke is the name of this author, scholars hold that the author is the same for both books. In Acts 1:16-20, Peter tells us about the fate of Judas. According to Peter, Judas took the "blood money" that he received from the scribes and chief priests and bought a field. When Judas walked onto his field he literally burst open and his blood poured out over the field. Therefore, unlike John, Luke and Acts incorporate Judas' damnation into the mix. Judas betrayed Jesus and he paid for his sins by dying. This death was obviously triggered by some sort of divine intervention, rather than self-inflicted death caused by remorse.

The Gospel According to Luke contains less detail about Judas than John, but it highlights Jesus' anger towards his betrayer, as well as the divine punishment Judas receives. Therefore, Judas remains at fault despite being possessed by Satan.

Judas in The Gospel According to Mark strongly parallels his characterization in Matthew. Significantly, Mark differs from Matthew because it does not mention Judas' death, nor anything else having to do with his fate after the betrayal. In Mark 3:19, the twelve apostles are listed, and Judas is named as the one, " who betrayed him (Jesus)". Directly before the Last Supper in Mark 14:10-11, Judas goes to the chief priests to betray Jesus. They were pleased and promised to pay him money. This section mirrors Matthew's depiction of the same scene. Mark's Last Supper is also nearly identical to Matthew's. Jesus says in 14:21, "For the Son of Man goes as it is written of him, but woe to that one by whom the Son of Man is betrayed! It would have been better for that one not to have been born". Judas in 14:43, accompanied by an armed escort, kisses Jesus to signal the crowd that he is the guilty one.

There is no mention in Mark of Judas' fate after his betrayal of Jesus.

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Pontius Pilate

Pontius Pilate is played by Barry Dennen, a British-speaking singer/actor. His is a confusing character both in the New Testament and in Jesus Christ Superstar. Pilate, a Roman Procurator who was in command of thousands of troops, sealed the fate of Jesus. Ironically, one could argue that Pilate's ruling to have Jesus crucified allowed humankind to be forgiven of its sins, and thus making a new covenant with God possible. I will never truly understand why Pilate gave in to the crowds that were calling for Jesus to be crucified. It remains to be seen, however, whether or not Pilate actually wanted to keep Jesus alive. It all depends on the credibility of the canonical gospels.

The movement in Jesus Christ Superstar called Trial Before Pilate is extremely significant, and it deserves a close reading. Jewison sets up the conflict between the "crowd" and Pilate, which is interwoven with an important Johannine dialogue between Jesus and Pilate. In order to understand this movement, it is important to note its relationship to the gospels.

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In The Gospel According to Luke Jesus is brought to Pilate from the assembly in 23:1. Pilate asks Jesus if he is the King of the Jews, and Jesus answers in 23:3, "You say so". Pilate finds no basis for an accusation against Jesus, but when he learns that Jesus is a Galilean, he sends him off to Herod to be judged. It seems that Pilate, again, does not want to judge Jesus, and put him to death. Herod become angry with Jesus and sends him back to Pilate (23:8-12). (23:12 puts Pilate and Herod on the same side by saying that they became friends that same day. This is incorporated into the film.)

Pilate, in 23:13-17, brings the chief priests and leaders of the people together and tells them that he has found no case against Jesus. He says will flog and release him.

Again, the crowd persists and wants the release of Barabbas--murderer and insurrection leader. In 23:20, the author tells us that Pilate wanted to release Jesus, but in 23:23 we learn that the crowd "prevailed" and Pilate gave his verdict that their demand should be granted. This also seems rather absurd. How could they prevail? Again, some kind of plausible explanation is missing. Therefore, this gives Rice and Jewison room to maneuver and create their own theories that are somewhat within the framework of these narratives.

The portrayal of Pilate in The Gospel According to Matthew is a bit different from John and Luke. Pilate seems much more intelligent and assertive here. He does not get caught up in the religious and legal perspectives of the Jews.

Jesus is handed over to Pilate in 27:1-2 by the chief priests and elders of the people. Pilate questions Jesus in Matthew 27:11-14. Again, Pilate asks him if he is the King of the Jews, and Jesus responds by saying, "You say so". When the elders and chief priests accuse him, Jesus does not respond. The text says that Pilate was "amazed" by Jesus' actions. This is plausible.

The author tells us in 27:15 that during the Passover festival Pilate was accustomed to releasing one prisoner of the crowd's choice. Pilate gives the crowd a choice between Jesus and the criminal known as Barabbas, and the author also explains that Pilate is aware that the crowd handed Jesus over out of jealousy.

Matthew 27:19 is interesting, and what it says is unique too. While Pilate was sitting on his "judgment seat" he receives word from his wife which says, "have nothing to do with that innocent man, for today I have suffered a great deal because of a dream about him". This dream, which appears to be some kind of divine intervention, is intriguing because it came through a woman and because it caused Pilate to turn Jesus back over to the crowds. In Superstar Pilate takes over this dream in Pilate's Dream, and the scene transpires well before Jesus is arrested.

Pilate releases Barabbas, washes his hands with water, and tells the people: "I am innocent of this man's blood; see to it yourselves" (27:24). The crowd responds by saying in 27:25, "His blood be on us and on our children". The issue of Jesus' blood is important in Matthew, both in Pilate's final exchange with the crowd and with Judas in the Temple directly preceding his suicide. The film incorporates this issue into its thematic framework.

The Gospel According to Mark contains a similar version of Pilate. Jesus is handed over to him in 15:1, and he is questioned in 15:2-5. Pilate asks Jesus if he is the King of the Jews, and Jesus responds by saying, "You say so". Jesus, again, refuses to respond to the accusation of the chief priests and elders. Pilate is amazed at this.

The rest of Mark is virtually identical to Matthew (except for Pilate's wife's dream). Pilate realizes that the crowd is jealous of Jesus, and he washes his hands.

Jesus Christ Superstar bears a striking theological resemblance to The Gospel According to John, and I would like to go into a deeper structural and theological comparison between the two. First, let's take a closer look at the Jesus and Pilate trial in John on a verse by verse basis. Raymond Brown breaks the trial down into three episodes (843-872):

1) 18:28 Now, at daybreak, they took Jesus from Caiaphas to the praetorium. They did not enter the praetorium themselves, for they had to avoid ritual impurity in order to be able to eat the Passover supper. 29 So Pilate came out to them. "What accusation are you bringing against this man?" he demanded. 30 "If this fellow were not a criminal," they retorted, "we would certainly not have handed him over to you." 31 At this Pilate told them, "Take him yourselves then and pass judgment on him according to your own law." But the Jews answered, "We are not permitted to put anyone to death." (32 This was to fulfill what Jesus had said, indicating the sort of death he was to die.)

2) 18:33 Then Pilate went [back] into the praetorium and summoned Jesus. "Are you the King of the Jews?" he asked him. 34 Jesus answered, "Do you ask this on your own, or have others been telling you about me?" 35 "Surely you don't think that I am a Jew?" Pilate exclaimed. "It is your own nation and the chief priests who handed you over to me. What have you done?" 36 Jesus answered,

"My kingdom does not belong to this world.

If my kingdom belonged to this world,

my subjects would be fighting

to save me from being handed over to the Jews.

But, as it is, my kingdom does not belong here."

37 "So then, you are a king?" said Pilate. Jesus replied,

"You say that I am a king.

The reason why I have been born,

the reason I have come into the world,

is to testify to the truth.

Everyone who belongs to the truth listens to my voice."

38 "Truth?" retorted Pilate. "And what is that?"

3) 18:38 (continued) After this remark Pilate went out again to the Jews and told them, "For my part, I find no case against this man. 39 Remember, you have a custom that I release someone for you at Passover. Do you want me, then to release to you 'the King of the Jews'?" 40 At this they shouted back, "We want Barabbas, not this fellow." (Barabbas was a bandit.)

Jesus Christ Superstar does not address the first episode, but rather its depiction of this trial seems to center on episode two in John 18:33. I would like to suggest some verses and patterns that I find relevant to the film:

John 18:33: In all of the Gospels, Pilate always speaks these words to Jesus first. "The Jews" seems to refer to the whole Jewish nation as well as the chief priests (see John 18:35).

John 18:34: Jesus' answer in John is far more extensive then his single response in the Synoptic Gospels ("You say so").

John 18:35: Pilate, through his somewhat rhetorical question to Jesus, is claiming no real knowledge of Jesus other than what has been reported to him by the Jewish authorities. The reference Pilate makes to the "Jews and the chief priests" is the only indication in John that there is a larger group consisting of more than just the Sanhedrin.

John 18:36: Jesus does not answer Pilate most recent question ("What have you done?"), instead he answers Pilate's first question on kingship. Jesus' response, however, still does not answer Pilate's initial question. Jesus refers to "being handed over to the Jews", but now he has been handed over to the Romans. Jesus, however, ignores the importance of the Romans, and the text (through Jesus) is making the statement that the Jews were the real enemies of Jesus. Therefore, their is much more blame put on the ignorant Jews than on the weak-hearted Pilate.

John 18:37: This question by Pilate is similar to the question he asked in John 18:34, but there is a major difference. Pilate does not repeat "the King of the Jews" perhaps because he now understands that this title is not accepted by Jesus, because Jesus has referred to the "Jews" as his enemies. Brown (p. 853) theorizes that Jesus' response to this question could interpreted as adversative because Jesus says that his purpose is to "testify to the truth". Jesus, however, does not deny that he could be a king. The author uses a "parallelism" in Jesus' response which says that Jesus' birth can be equated to divine truth entering the world.

John 18:38: Pilate's "not guilty" judgment will be given on two more occasions (John 19:4,6), and a similar judgment is also rendered by Pilate three times in Luke (23:4,14,22). The first occurrence in both Gospels comes right after Pilate's question of kingship.

Episode three does not have much to do with the plot of the movie, because the tale of Barabbas is not incorporated into Superstar.

To review, then, the accounts of this trial in both Mark and Matthew are quite simple, and Brown maps them out as follows: 1) Jesus is brought to Pilate to be questioned about his claiming to be a king, but he refuses to answer; 2) when a crowd gathers to ask for the release of Barabbas, Pilate offers Jesus to them but they refuse; 3) at their insistence Pilate hands Jesus over to be crucified (857-858). The entire scene transpires in an outdoor setting, and only after Jesus is handed over to be crucified is he finally brought inside the praetorium to be mocked by the soldiers. The scene in Luke is almost identical to this, but it is interrupted when Pilate sends Jesus to be judged by Herod (Luke 23:6-12). There is also no episode of mocking inside the praetorium. It is important to keep in mind that, in all the Synoptic versions of this trial, Jesus remains silent. Jesus only responds in John, and that is probably why Superstar chose to resemble this Gospel.

A subtle pattern is laid down by the author of John in this trial scene. The pattern involves Jesus' positioning during the trial (outside or inside), and the interplay between the dialogue of Pilate and Jesus. Brown diagrams this pattern as follows (859):

1. Outside (John 18:28-32) | | 7. Outside (John 19:12-16a)

Jews demand death | = | Jews obtain death

| |

2. Inside (John 18:33-38a) v ^ 6. Inside (John 19:9-11)

Pilate questions Jesus | | Pilate talks with

about kingship | = | Jesus about power

| |

3. Outside (John 18:38b-40) v ^

Pilate finds Jesus | = | 5. Outside (John 19:4-8)

not guilty; | | Pilate finds Jesus

Barabbas choice ð------^ not guilty:

"Behold the man"

4. Inside (John 19:1-3)

Soldiers scourge Jesus

Obviously, the author of John has constructed a much more complicated and dramatic episode between Pilate and Jesus. After examining the diagram above, one can see that Pilate goes back and forth from one setting to the other in seven balanced scenes. In the "Inside" setting the mood seems to be calm, while in the "outside" setting the conversation is heated and conflicting.

In John, the "Jews" are clearly classified as the enemy: both Jesus and the author's rendition of the atmospheres of the two "setting" tells us that this is so. Furthermore, the corruption of the Jews is increased when they accept the Roman emperor, Caesar, as their king in John 19:12. Brown adds that, "Pilate's constant passing from one setting to the other gives external expression to the struggle taking place within his soul, for his certainty of Jesus' innocence increases at the same rate as does the political pressure forcing him to condemn Jesus" (858).

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JESUS CHRIST

So much information concerning Jesus is imparted in the canonical gospels, as well as in the entire New Testament, that I intend to base my biblical study of him here on several specific events which occur both in the gospels and in the film. They include: Jesus' birth, the Anointing (which has already been discussed at length in the "Magdalene" section), the Last Supper, Jesus praying in Gethsemane/Garden, and the Crucifixion.

As has been noted above, Superstar's Jesus seems to follow the Jesus of John the closest. Jesus' birth in John comes the closest to representing his birth in the film, but the theology surrounding this passage is drastically altered by Rice and Jewison.

In John 1:1-18, Jesus' birth into the world is described as "the Word becoming flesh". The "Word" is not the Son of God, but part of God Himself/Herself. In John 1:5, the image of the "light" is introduced. In Superstar, there are constant images of the sun shining through the clouds, which is yet another example of how the film repeatedly uses the symbolism of this text in order to create its own message.

The anointing scene in John 12:1-8 is a crucial scene (I discussed it previously in the "Mary Magdalene" section). One must keep in mind that John is the only gospel to have Mary Magdalene anoint Jesus, and it is the only gospel that truly introduces the triangular relationship between Jesus, Judas, and Mary Magdalene. John, we saw, gives a special notoriety to women, and this scene illustrates this perfectly. Jesus, after Judas becomes angry at Magdalene, tells him to leave her alone because the ointment is for his burial. Obviously, Magdalene understood this without having to be told.

John does not have a specific Last Supper scene. A scene which resembles the Last Supper is listed in John 13:1-20. It opens with the author telling us that Jesus has recognized that "the hour come to depart from this world and go to the Father" (John 13:1). In John, the author makes it clear that Jesus loves his disciples a great deal. A large portion of text is devoted to Jesus praying to God to protect them (John 16:25-17:25). John also reminds us of the relationship Jesus has with God: "Jesus, knowing that the Father had given all things into his hands, and that he had come from God and was going to God, got up from the table" (John 13:3). Jesus is aware of his relationship to God, and he knows what is going to happen to him. This is quite different from the Jesus of Superstar, as we will soon see.

Jesus washes his disciples' feet in John 13:6-11, and then he explains to them the significance of his actions. Jesus says, "For I have set you an example, that you also should do as I have done to you" (John 13:15). Jesus is clearly passing down his knowledge and traditions to his closest followers. After his death, Jesus will be remembered through the actions of the disciples. Jesus is aware of this. Therefore, he knows the significance and the purpose of his death. Again, this is not so in Superstar, but the film will borrow almost all of this Last Supper symbolism.

There is also no precise garden or Gethsemane scene in John, but there is text in which Jesus prays to God after the Last Supper scene. Here, again, it appears that Jesus' relationship with God is strong and loving. Jesus is actually giving tribute to God when he says, "I glorified you on earth by finishing the work that you gave me to do. So now, Father, glorify me in your own presence with the glory that I had in your presence before the world existed" (John 17:4-5). In the rest of this section, Jesus devotes his prayers to the disciple. Apparently, they are vital for Jesus' ministry, especially after his death. They will be the ones who will carry on the traditions that Jesus set forth.

Jesus is crucified in John 19:16b-30. There are two others that are also crucified with him, and Pilate puts the inscription "Jesus of Nazareth, the King of the Jews" above his head on the cross. Jesus' clothes are divided amongst the soldiers, and several women gather near the cross. These women include Mary Magdalene, Jesus' mother, and Mary the wife of Clopas. Again, we can see how John is highlighting the acts of righteousness and devotion on the part of certain women. There are no disciples present at the crucifixion. Jesus does not have much dialogue on the cross. He says, "I'm thirsty", to fulfill the scriptures, and then he says, "It is finished". Jesus gives up his spirit.

A few things must be kept in mind when we read The Gospel According to John. First, Jesus has a strong relationship to God which stems from the fact that he and God are part of the same entity. Second, Jesus cares deeply for his apostles, and he realizes that they are the key to the foundation of his teachings among the people after he has left this world. Third, John pays special attention to women. They are often shown to be more righteous than the male disciples.

The birth of Jesus in The Gospel According to Matthew is the traditional "manger" scene that is used at Christmas time in many Catholic churches. The Virgin Mary, who is impregnated by God through the Holy Spirit, gives birth to Jesus. The three Wise Men visit him, while Herod is searching the land to try to kill him.

The anointing scene can be found in Matthew 26:6-13. As I mentioned earlier, Matthew does not set up the conflict between Jesus, Judas, and Magdalene.

The Last Supper is in Matthew 26:17-35, and it contains three sections: 1) Jesus names Judas as his betrayer in Matthew 26:17-25; 2) Jesus introduces the sacrament of the Lord's Supper; and 3) Jesus foretells Peter's denial. The first section has been discussed in the "Judas Iscariot" section of this essay. In the second section, Jesus blesses the unleavened bread and wine, and transforms them into his body and blood. All of the disciples eat and drink. Jesus says, "I tell you, I will never again drink of this fruit of the vine until that day when I drink it new with you in my Father's kingdom" (Matthew 26:29). Here, one of the themes Jesus is speaking of is forgiveness, specifically for Judas and Peter. According to the text, these two unfaithful disciples are still with the rest of the group as Jesus speaks these words. Therefore, they too will rejoin him in heaven. Although Superstar seems to be borrowing most of its groundwork theology from John, it does take a bit from Matthew. For example, Judas' death by hanging is unique to this gospel. In addition, Superstar's Judas is similar to Matthew's in that he goes to return the money to the high priests, and because he ascends to heaven.

Matthew's Gethsemane scene also bears a striking resemblance to Superstar's. For example, in Matthew 26:37-39 the text reads: "He took with him Peter and the two sons of Zebedee, and began to be grieved and agitated. Then he said to them, 'I am deeply grieved, even to death; remain here, and stay awake with me.' And going a little farther, he threw himself on the ground and prayed, 'My Father, if it is possible, let this cup pass from me; yet not what I want but what you want.'" Here in Matthew, we see a subtle sign of a possible human weakness within Jesus. Initially, he does not want to die, but he soon realizes that this is the only way for him. God does not respond, but Jesus appears to get the message that he must die. Jesus, however, does not question the reason why he must die, nor if he will be remembered or not.

Jesus' crucifixion takes place in Matthew 27:32-56. It is an extremely long and drawn out scene. Again, as in John, Jesus' clothes are divided amongst the soldiers, and they nail the inscription "This is Jesus, the King of the Jews". Matthew adds the story of the two bandits, but the bandits both taunt him.

As Jesus begins to die, the sky becomes dark, and he yells, "My God, my God, why have you forsaken me?" The bystanders figure that he is calling for Elijah. Directly after, Jesus "breathes his last" in Matthew 27:51. At this moment, the earth shakes, rocks are split, and the dead saints rise from the grave. Clearly, these actions were committed by God, and they highlight the significance of Jesus' final moments on earth.

Matthew, like John, adds that there were many women present, including: Mary Magdalene, Mary the mother of James and Joseph, and the mother of the sons of Zebedee.

The Gospel According to Luke has a similar birth narrative as Matthew, but it adds a new story of Elizabeth and Zachariah. Luke highlights two miraculous births: 1) the virgin Mary as the mother of Jesus; and 2) the aged Elizabeth as the mother of John.

The anointing scene in Luke, if we recall, is a bit different from the other gospel depiction's of this scene. Here, an anonymous woman anoints Jesus as he is speaking with the Pharisees. Clearly this anointing scene was used in Luke to put Jesus on a higher level of righteousness than the Pharisees.

Luke's Last Supper can be found in 22:14-38, and it has four sections: 1) the institution of the Lord's Supper; 2) the Dispute About Greatness; 3) Peter's Denial predicted by Jesus; and 4) Purse, Bag, and Sword. The structure of the first scene is rather similar to Matthew, but it leaves out the possibility of forgiveness in 22:16 : "for I tell you, I will not eat it until it is fulfilled in the kingdom of God". Again, Jesus is speaking of his resurrection, but the fulfillment does not have anything to do with the disciples reaching the kingdom of God.

In the second section, Luke 22:28-30, Jesus does involve the disciples: "You are those who have stood by me in my trials; and I confer on you, just as my Father has conferred on me, a kingdom, so that you may eat and drink at my table in my kingdom, and you will sit on thrones judging the twelve tribes of Israel". In this scene, the disciples are not only given a responsibility to carry on Jesus' traditions, but also an authority over Israel.

Jesus predicts Peter's Denial in Luke 22:31-34.

In the fourth section, Jesus instructs the disciple to carry on his traditions at all costs, even if it means violence. Jesus wants the disciples to protect themselves, obviously because they are the key to the institution and preservation of the traditions he taught them.

Luke's Gethsemane scene takes place in 22:39-46. Again, Jesus wants his Father to take away the cup of death, which will bring about the new covenant. In Luke 22:43, however, the text indicates that an "angel from heaven appeared to him and gave him strength". This would explain the shift in Jesus' constitution that was rather unclear in Matthew.

Luke's crucifixion in 23:26-49 is also fairly long. Again, the text tells the tale of the two bandits who were to be crucified with Jesus. In this rendition, however, only one of the bandits taunts Jesus, while the other defends him. Jesus says to the righteous bandit, "Truly, I tell you, today you will be with me in Paradise" (Luke 23:43).

Directly before Jesus dies, the sun's light "fails" and the curtain in the Temple is ripped in two. Jesus' last words are, "Father into your hands I commend my spirit" (Luke 23:46). Clearly, the author of Luke has a great deal of animosity for the Jewish priests. First, in the Last Supper, he allows his disciples to carry swords for protection. Second, in the crucifixion, he says that Jesus' death brought about the desecration of the Holiest of Holies--God's presence within the Jewish Temple.

The Gospel According to Mark does not contain a birth narrative, and it begins with the ministry of John the Baptist.

Mark's anointing scene is in 14:3-9, and it is almost identical to Matthew's. The triangular relationship between Jesus, Judas, and Mary Magdalene is not present, but Jesus does stick up for Magdalene when his disciples scold her: "Let her alone; why do you trouble her? She has performed a good service for me" (Mark 14:6).

Mark's Last Supper, in 14:12-31, is also similar to Matthew, and it can be broken down into two sections: 1) the institution of the Lord's Supper; 2) Peter's denial foretold by Jesus. In the first section, Mark 14:22-25, Jesus consecrates the bread and the wine. In Mark, Jesus does not allude to any forgiveness for his two unfaithful disciples. He only says: "Truly I tell you, I will never again drink of the fruit of the vine until that day when I drink it new in the kingdom of God" (Mark 14:25).

Jesus predicts that Peter will deny him, after Peter says: "Even though all become deserters, I will not" (Mark 14:29). This shows that even the most loyal follower of Jesus is not free from committing error. This serves as a warning for the other disciples and Mark's readers.

Jesus prays in Gethsemane in Mark 14:32-42. Again, Jesus says that he is "deeply grieved; even to death" (Mark 14:34). Therefore, as he was depicted in Matthew, Jesus does not want to die, he is scared. There is no mention of any answer from God, as there was in Luke.

Mark's depiction of Jesus' crucifixion and death (15:21-41) is similar to that of the other Synoptic gospels. Jesus is brought to Golgotha and mocked by the crowd and the soldiers. Two bandits are also crucified. Just as Jesus is about to die, the sky blackens, and Jesus cries out, "My God, my God, why have you forsaken me?" (Mark 15:33-34). Again, as it was in Matthew, the people are confused by this, and think that he is calling for Elijah. When Jesus dies the curtain in the Temple is split. Therefore, in Mark we see the same anti-Semitic undertones, but without the rocks splitting and the saints rising from their graves.

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ANALYSIS SECTION

The Triangle

In Jesus Christ Superstar, Jesus, Mary Magdalene, and Judas interact within a certain "triangle" that was introduced to the screen in the Cecile B. De Mille film King of Kings (Humphries-Brooks 1997, Chapter 1). This triangle undoubtedly originated in the "Anointing in Bethany" in John 12:1-8. It is important to keep in mind, however, that the film's characterizations of biblical individuals differ greatly from those of the Bible. For example, there is much more to Superstar's Judas than is initially presented to us in the Canonical Gospels.

At the pinnacle of the film's triangle is Jesus, the one who is capable of fulfilling the desires of his followers. Mary Magdalene and Judas both want Jesus to act in a certain way of their own choosing. Their needs, however, conflict. Jesus is forced to choose between them on several occasions.

The first conflicting scene transpires during the song entitled What's the Buzz which leads into Strange Thing Mystifying. Before we examine the content of these two scenes, we should address and situate Judas' opening song, Heaven on their minds, which directly precedes What's the Buzz.

Judas, dressed in his red outfit, is perched on top of a mountain, and he begins to sing, apparently talking or pleading with Jesus. Judas is finally realizing the implications of the talk surrounding Jesus, and he is trying to advise Jesus that his "belief" in his own association with God is dangerous: "You've started to believe the things they say of you. You really do believe, this talk of God is true. And all the good you've done will soon be swept away. You've begun to matter more than the things you say". In Judas' mind, Jesus is not the Messiah, and he is risking his life.

It is interesting that the first words spoken by a character in this film are from Judas, and it is even more intriguing that these words come in the form of a warning. Furthermore, there is a prophetic undertone in Judas' warning which sheds some light on Jesus' fate.

The nature of this warning tells us much about the film's characterization of Judas. For example, he simply sees Jesus as a teacher of sorts, as well as a good friend. This friendship, however, has become tainted due to the change in Jesus' ministry. Judas also seems to be more intelligent than the other followers of Jesus: "All your followers are blind, too much Heaven on their minds".

After listening to Judas' words, it is safe to assume that the friendship that he and Jesus have had is due for a turn for the worse. They no longer see eye to eye, and Jesus "won't listen".

What's the Buzz opens in an underground cave where Jesus and his followers are gathered, possibly avoiding some soldiers who are walking the terrain above. The apostles are repeatedly asking Jesus to tell them what is going to happen, and when they will be able to march on Jerusalem. Jesus, sitting in a pool of light descending from an opening in the roof of the cave, tries to tell them not to worry about the future, because they cannot change what will be: "Times and fates you can't defy". Amidst the repeated questioning, Magdalene enters carrying a bowl of water--the same bowl Pilate eventually uses to wash his hands of Jesus' blood at the trial--to wash Jesus' face: "Let me try to cool down your face a bit". As Mary tends to Jesus, the camera shows Judas entering the cave and positioning himself under a ray of sunlight coming in through another crack in the cave's ceiling. He is, however, halfway in light and halfway in the darkness of the cave. He seems upset, apparently because Jesus did not adhere to his previous warning, and/or because he does not like what he is seeing.

This scene is typical of how Jesus and his apostles interact during the entire film. The apostles (minus Judas) are always questioning and seem constantly restless. They do not understand Jesus' teachings, they only think that he will save them and their cause. Looking ahead to The Last Supper, Superstar's Jesus realizes that his apostles are fools who have never really understood anything, and that they only want to be his followers so they can write the Gospels to be remembered when they die. The apostles want to gain notoriety from Jesus, and they do not seem to render any type of self-sacrifice or devotion. Superstar, I believe, does not really care about the apostles. They--at least in the film's perspective--are trivial characters who serve no other purpose than to put Jesus' legacy (as they see it) down on paper for all to see and remember. This film is not about Jesus' legacy, it is about the nature of his person, in relation to God, Judas, Magdalene, and even Pilate. He preaches to the crowds, but they do not really understand, and neither do the apostles.

In Strange Thing Mystifying, Judas is angry at Jesus, and this anger stems from his passionate devotion and service to him. According to Judas in Heaven On Our Minds, he has been Jesus' "right hand man all along". Therefore, Judas' anger in this scene is triggered to some degree by jealousy and to some degree by contempt. As Judas watches, Jesus is paying attention not to him or his apostles, but to a lowly prostitute (Magdalene) who offers nothing but a pleasurable rub-down and face-wash. Furthermore, Jesus has already ignored Judas in Heaven On Our Minds. Judas feels cheated and neglected, especially after he has devoted his life to Jesus.

Judas reminds me of a loyal campaign manager who worked for a presidential candidate who just won the election. Once the candidate has been awarded the office, the campaign manager is no longer really needed. In addition, this campaign manager does not usually receive any of the glory or the credit for his candidate's victory or popularity among the people.

The music slows, and Judas enters the discussion (Strange Thing Mystifying) by saying, "It seems to me a strange thing, mystifying, that a man like you can waste his time on women of her kind". Simon the Zealot interjects: "Hey cool it man". This brief statement given by Simon--an apostle that is highlighted in Simon Zealotes--is significant because it puts the rest of the apostles on the side of Mary and Jesus. Simon's body language also tells us that he and the rest of the apostles are somewhat afraid of Judas, and that Judas is above the rest in the chain of command. Judas continues: "It's not that I object to her profession, but she doesn't fit in well with what you teach and say. It doesn't help us if you're inconsistent... They only need a small excuse to put us all away". Mary is ashamed, and she lowers her head and backs away from Jesus.

Unlike his biblical characterization, Judas' motivation in confronting Magdalene is Jesus' "purity"--purity in his ministry and in its application in the face of his potential adversaries. Again, Judas is almost speaking prophetically. Although, as we discover, Magdalene does not lead to Jesus' death, there are some adversaries that will arise to vehemently oppose him.

Jesus' response to Judas is an example of how Rice's lyrics use certain passages from the Gospels, and apply them to fictional situations involving his revised biblical characters. Jesus says: "Leave, or leave her, she's with me now. If your slate is clean, then you can throw stones. If your slate is not, then leave her alone". Rice is using excerpts from the episode found in John 7:53-8:11. As we recall, this scene involves the test of Jesus' faith in Mosaic law by the Pharisees through the example of the adulterous, and anonymous, woman.

Jesus' response to Judas is full of anger and spite, and it causes Judas to back off. Jesus defends Magdalene at the cost of shaming his "right-hand man". At this juncture in the film, it appears that Jesus values Mary more than Judas.

The pattern of this first triangle works similar to the triangle found in the four biblical anointing scenes: 1) Judas criticizes Jesus' judgment, probably shaming Magdalene; 2) Jesus responds by justifying Mary's actions (in this case he did this when speaking to the apostles before Judas spoke); 3) Judas backs off, and is the loser. The key difference is that the film presents an alternate motivation for all characters: 1) Mary is confused in her love for Jesus; 2) Judas, while somewhat jealous of the attention Magdalene is getting, thinks that Jesus' sentiments for this prostitute compromise his image; 3) Jesus thinks (or is certain) that he knows what is best for himself.

Everything's Alright, one of the more beautiful songs of the film, is where this triangular relationship resurfaces in the context of yet another "anointing scenario". It is set in the same cave and it picks up where What's The Buzz/Strange Thing Mystifying left off. These two cave scenes are separated by Then We Are Decided, a movement that depicts Caiaphas and Annas plotting against Jesus in the Temple.

Most of the male followers of Jesus have gone to bed, and Magdalene and the "apostles' wives" are singing to Jesus, with Judas looking on in the background. Mary is the lead, and her lyrics follow this initial framework: 1) she tries to ease Jesus' worries, and tells him to forget his problems for the meantime; 2) the apostles' wives chime in and echo Magdalene; 3) Magdalene describes the anointing to Jesus as she physically carries it out; 4) apostles' wives echo again.

Everything's Alright is based on the "Anointing" in John 12:1-8, but it makes some major changes. The most significant alteration is in the film's portrayal of Magdalene. As I mentioned earlier, John 12:1-8 places Mary Magdalene on a higher level of "understanding" than the apostles who object to her anointing of Jesus. According to the text, Mary clearly understands that this expensive ointment is to be used anoint Jesus for his burial--Jesus' dead body will not be anointed because he will have already gone when the women come to the tomb with their oils and spices. In Superstar, the ointment is still being used to anoint Jesus for his burial as we will see. Although Jesus never actually says this (as he does in John), he does predict his death to Judas and Mary. Mary, however, is not placed above the apostles.

To return to Everything's Alright, Judas interrupts the anointing by telling Magdalene that the money she used to buy the ointment could have been used for the poor. He then accuses Jesus of vanity and self-centeredness: "People who are hungry, people who are starving... they matter more... than your feet and head!" The opinion that Judas has of Magdalene is obvious: he does not care for her presence, and he does not approve of her interaction with Jesus. Judas' relationship with Jesus at this juncture of the film is still a bit unclear. Apparently, he has an inner contempt for Jesus, especially when he is interacting with Magdalene. To speculate a bit further, it appears that Judas thinks that Jesus should not be thinking of himself. Instead, he should be focused on his role as leader, and he should be looking to help others that are less fortunate than him.

Magdalene begins her singing pattern again, but this time it is varied: 1) she now directs her "try not worry" at Judas; 2) the apostles' wives reinforce her statement, and this time Magdalene joins in with them; 3) Jesus interjects and explains to Judas that there will always be poor people, and that Judas should cherish the times he can spend with him because he will be gone soon; 4) Mary now sings her lines to both Jesus and Judas (along with the reinforcement by the apostles' wives), and Jesus and Judas shake hands. For one brief moment, the triangular relationship is perfect. The handshake is suspended in air, as Magdalene sings soothing words of comfort to them both. Judas' expression is one of amazement, while Jesus appears to be saddened and caring.

The handshake breaks, and Judas' appearance reverts back to one of spite and contempt. Jesus is encircled by the women, covered by a black veil, and Judas leaves (again). (We have seen this "circling" technique in the Overture when Nealy is transformed into Jesus, and we will see it again in Hosanna, Simon Zealotes, and in the third part of Temple with the sick masses.) This technique reinforces the fact that Jesus is the central figure both in the this triangle, and among the masses and crowds that want things from him. Everyone in the film interacts with Jesus because they desire something from him: Simon wants him to lead a revolution against Rome, the sick want to be cured, and the crowds and the apostles also want him to help them triumph in Jerusalem, as well as give them notoriety and fame.

The centrality of Jesus' character takes on a different perspective when applied to his relationship with Judas, Magdalene and Pilate to some degree. These are all characters in the film that have a "special" association with Jesus: 1) Magdalene struggles with her love for him (I Don't Know How to Love Him) and is, after looking at What's The Buzz, definitely not interested in a revolution; 2) Judas, the highest-ranking apostle, is an old and dear friend of Jesus who has stood by him up until this juncture in his ministry; 3) Pilate, before he meets Jesus for the first time, receives information pertaining to Jesus through a divine dream in Pilate's Dream. The "special" association that these characters have is reinforced by Rice, because he gives each of them at least one solo to address their feelings toward Jesus. Jesus, Judas, and Pilate also have a unique relationship with God which I will discuss in a later section.

Judas and Mary still need something from Jesus, but this need is forged by the strong bonds of love and devotion that they share with him. They are Jesus' closest companions, but the film sets them against each other. Jesus' problem is that he tries to keep them both, and this sends Judas away and makes him bitter--a prime target for the Sanhedrin to use to have Jesus killed. Therefore, the triangle is only connected at the top, with Jesus. Jesus struggles within himself to appease both sides, but it appears that he defends Magdalene more than he lets Judas go through with his criticisms of her and what he is becoming, the people's Messiah. Therefore, the triangle resembles this shape:

Jesus

/\\

/ \\

/ \\

/ \\

/ \\

/ \\

/ \\

/ \\

/ \\

Judas: Pretty much Magdalene: the weaker,

left alone when Jesus whom Jesus defends when

takes Magdalene's side Judas criticizes her

The triangle is an ingenious tactic on the part of Rice and Jewison. Through it, we learn more about Jesus' human weaknesses, as well as about what humanly motivates all three characters.

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God and Jesus, Pilate, Judas

God is a subtle character in Jesus Christ Superstar, but He/She is clearly the most powerful. He/She can be likened to an unseen puppet master who pulls the strings of all of the characters in order to put on a masterpiece. God appears to intervene in the actions of three of the film's most significant characters: Jesus, Pilate, and Judas. God is personified in the film in three ways: 1) through the Heavenly and Angelic Choirs; 2) through the references made by Jesus, Pilate, and Judas to God; 3) through the confusion God's plan causes amongst these characters. One thing to keep in mind, however, is that we never hear God's side of the story in this film. We only hear the point of view of the actors/characters. Therefore, God is put to use by the film; the film is not concerned with the divine, but rather with the struggle between mortals.

The true nature of the God of this film is hard to pinpoint, but the Overture sheds some light on His/Her characteristics. The film begins with the camera panning over the landscape which will become the set. We see the mountains and the ruins that will serve as the Temple, and singing can be heard. The singing is important, and it can be easily overlooked. If we look ahead to Blood Money where Judas betrays Jesus with the Sanhedrin, he sings, "On Thursday night you'll find him where you want him. Far from the crowds, in the Garden of Gethsemane". The melody of Judas' betrayal is the same as the opening melody of the first scene in the Overture. When Judas sings these lines the pitch of his voice becomes strained and high, almost as if someone or something else is driving him to do this. Obviously, these lines are some of the most important of the film: Jesus' mission can now be fulfilled through the act of Judas. I believe that the Judas of Superstar was controlled by God: after he betrays Jesus he screams at God, "God, I'll never know why you chose me for your crime".

The Overture is comprised of melodies from several songs, and the purpose of its composition is to highlight the significant parts of the film, as well as the significant themes that are introduced and supported by these melodies. There are two worlds in Superstar: the world of Jesus, and the world of modern actors. The actors, who bring their show to the desert of Israel on a bus, constitute an alternate reality which is linked to the realm of Jesus. The reality of the film's characters is a bit more complicated, because they are confined to the script. God, who might be the script itself, transcends these realities and is the controlling force in both. Jesus, like God, will transcend the two worlds through his death: he does not get back on the bus when the characters finish the script and revert back to their initial identities. Jesus is created by the cast as they surround Nealy and stretch their arms upwards towards the heavens. When the dancing circle of people parts, Jesus is born and Nealy is no more. So who is this God? He/She is the unseen cast member who runs the entire production.

The God of Superstar does not bear a striking resemblance to the God in the New Testament. Furthermore, Superstar's Jesus does not seem to be a part of God, as the Gospels (especially John) would have us think. Jesus, however, could be the Son of God, but he does not refer to God as his "Father" until he reaches the cross.

There is much more to Jesus' relationship with God than what is seen in his birth and death. Jesus is aware that he must die (he makes the first prediction in Everything's Alright), but he is constantly asking himself, and God, why he must die. He also wants to know if he will be remembered. Therefore, Superstar's Jesus is, for the most part, unaware of the future (or any reality outside the context of the film's script), and he makes no prophetic speech about rising from the grave. In fact, the film makes no direct reference to any kind of resurrection other than the image of the absence of Jesus' body on the cross at the end of the film.

Jesus goes through a transformation in the film. He begins as a confident teacher whom people look to and follow, and then his character shifts to one who loses all confidence and who is fearful of the future. The change in Jesus can be attributed to several things, including the fact that Jesus is exhausted (seen in Everything's Alright, My Poor Jerusalem, and Gethsemane). As the hour of his arrest and death draws closer, Jesus becomes more agitated and fearful of the future. Here is the transformation, and it can be truly noticed in The Last Supper which marks the beginning of the second act of the film.

The film's depiction of the Last Supper is radically different from its depiction in the Bible. For example Jesus says: "For all you care, this wine could be my blood. For all you care, this bread could be my body". Jesus is making this remark because he knows that he will be betrayed by his friends, Judas and Peter. As we recall, in Matthew's version of the Last Supper, Jesus' main message was of forgiveness, even for Judas and Peter. Superstar's Jesus, however, worries about the significance of his death: "I must be mad thinking I'll be remembered. Yes, I must be out of my head". The apostles of Superstar are obvious idiots, but they serve as an example of the crowds of people that are not directly involved by God. Jesus has these questions, but he gets no answers even when he reaches the cross.

Jesus can predict, however, who his two unfaithful apostles will be. The conflict between Judas and Jesus at the Last Supper is heated:

Jesus: One of my twelve chosen will leave to betray me!

Judas: Cut out the dramatics! You know very well who.

Jesus: Why don't you go do it?

Judas: If you knew why I do it...

Jesus: I don't care why you do it!

Judas: To think I admired you, well now I despise you.

Jesus: You liar! You Judas.

Judas: You want me to do it! What if I just stayed here and ruined your ambition. Christ you deserve it.

Jesus: Hurry you fool. Hurry and go. Save me your speeches I don't want to know. Go!

(Judas runs off)

This dialogue is an example of the confusion that God has created among the film's main characters. Judas believes that Jesus wanted him to betray him, while Jesus thinks that Judas is an evil man who is corrupt. Neither of these two beliefs is true, and only the film's audience is aware of the truth. Furthermore, this scene also serves as an example of how the film has altered biblical interpretations of certain characters. In all of the Last Supper scenes in the Gospels, Judas tries to hide the fact that he will be the betrayer, and the apostles are not really aware that he will do it. In Superstar, Judas is much bolder, perhaps because he thinks he is on the side of righteousness. Superstar's Judas, like the Judas in The Last Temptation of Christ believes that he is making a supreme sacrifice when he betrays Jesus. His fatal error is that he believes he is acting within Jesus' plan, instead of understanding that he is being used by God.

Superstar's Gethsemane ("I Only Want to Say") is where we can learn the most about Jesus' relationship with God. This scene takes place directly after the Last Supper and Jesus' confrontation with Judas. The scene takes place at twilight and Jesus is pleading with God while ascending a mountain (perhaps the same mountain that Judas was perched upon at he beginning of the film in Heaven On Their Minds). Jesus begins by telling God that he does not want to die, and then he speaks of his own transformation: "I have changed. I'm not as sure as when we [Jesus and God?] started. Then, I was inspired. Now, I'm sad and tired". Jesus is undoubtedly fallible, and this scene in Gethsemane goes way beyond Jesus' depiction in all of the Gospel garden scenes. Furthermore, it is somewhat apparent that Jesus thinks of himself as a man who was chosen by God: "Listen, surely I've exceeded expectations. Tried for three years, seems like thirty. Could you ask as much from any other man?" Jesus thinks that he is merely a man, and maybe the film is suggesting that that was all he was. In addition, the film is also showing that Jesus is ignorant of God's plan because he thinks that he is the only one that has been used. When Jesus says, "Could you ask as much from any other man", Jesus does not realize that Judas has made an equal, if not greater, sacrifice. Judas has been forced to betray his closest friend, as well as kill himself (which is harder than being killed by others).

The next section of Jesus' dialogue in Gethsemane centers on Jesus wanting to know what purpose his death will serve: "Why should I die?" He gets no answer from God, but it appears that God's silence in an answer in of itself, because Jesus agrees to die at the end of his solo: "God, thy will is hard, but you hold every card. I will drink your cup of poison. Nail me to your cross... Kill me. Take me now, before I change my mind". Jesus has no choice but to obey God and die. Again, Superstar's God can be seen as the God of the script, or as the God of destiny. This story is known, and Jesus dies at the end of it. Why should this Jesus assume that he could be able to change this? Jesus puts up a struggle, and pleas to God to be saved, but he must follow his set path, his destiny.

Except during the Trial Before Pilate, Jesus pretty much remains silent from this point on until his crucifixion. On the cross, Jesus seems to assume the biblical role of the Messiah. On the cross he speaks these lines: "Father forgive them. They don't know what they're doing... My God, my God, why have you forgotten me... Father, into your hands, I commend my spirit". I will address these lines in my later analysis. For now, they do not concern us for they do not really add to Jesus' relationship to God in the film.

Superstar's Jesus is more a slave to God than His/Her son. In both the film and the Gospels, Jesus must follow a hard road to fulfill his destiny, but the film raises the issue of Jesus' willingness to go through with God's plan. Obviously Nealy/Jesus does not wish to die because he is afraid and because he is unsure that his death will serve any purpose. Jesus does not think that he will be remembered, and this feeling does not change throughout the entire film. God also destroys Jesus' and Judas' friendship. He/She pits them against each other and kills them both.

It can be inferred that Judas mistakenly views Jesus as being part of God. Furthermore, Jesus does not seem to view himself as being part of God, but he nonetheless follows God. Therefore, God controls everything and Jesus serves Him/Her, while Judas' believes that God is Jesus. This is the Johannine theology, but the film reconstructs it so it is now flawed, because both Jesus and Judas are killed by God, apparently for God. Jesus, in the film, is as fallible as Judas. In addition Jesus is only Judas' God in a mortal fashion. Judas serves Jesus, but only as a loyal follower and friend. Judas is convinced, throughout the entire film, that Jesus is merely a man.

Judas, in my opinion, has a tougher job than Jesus. I would not think this if the film had made Judas out as an evil and corrupt character, however it appears that Superstar's Judas is a good, but confused, character. Judas' confusion stems from the fact that he mistakes Jesus for God. He thinks that Jesus is aware of everything, including the need for a betrayer. The scenes in Superstar that exemplify Judas relationship to God, as well as his inner struggle and confusion which is caused by God, are: Heaven On Their Minds, Damned For All Time/Blood Money, Gethsemane, Judas' Death, and Superstar. I will discuss each song individually, but some are more important than others.

Heaven On Their Minds, which I have already discussed, simply introduces the conflict of interest between Judas and Jesus. Judas is attempting to warn Jesus, but Jesus will not listen. Consequently, Judas feels left out and jealous of those whom Jesus does listen to (Magdalene especially). This feeling of neglect that Judas carries with him drives him to his act of betrayal in Damned For All Time/Blood Money. There is another hypothesis which could account for Judas' act of betrayal, and it should not be overlooked. There is no doubt that Judas thinks that Jesus wants him to betray him (see the previous dialogue in Last Supper). Therefore, Judas could be trying to prove his worth to Jesus. Maybe Judas thinks that Jesus is testing him, because they have been close friends. Either way, Judas is making the ultimate sacrifice for Jesus, and it begins in Damned For All Time/Blood Money when Judas first goes to speak with Caiaphas and Annas.

This song opens with an intriguing scene with Judas sitting in the desert. He is bent over, and obviously frustrated. There is no sound, except for some faint music. Suddenly, three tanks roll over the hill behind him. Judas sees them and starts to run from them. Judas is then shown climbing the scaffolding of the Temple. Therefore, it appears that some foreign force drove Judas to the Temple. I believe this force to be God. If we look ahead to the end of this scene, after Judas agrees to betray Jesus, Judas is back on the desert and three plains fly over him, head upwards in the sky, and disappear. God, or His/Her celestial agents, pushed Judas in the direction of the Temple. After he did what God wanted him to do, God's presence left the world and returned to Heaven. Again, we see Johannine theology in that something divine--part of God--descended to do a job. When the job was completed, it rejoined God in Heaven. Again, Superstar puts its twist on this line of thinking, because Judas misinterprets this "invention" as being the doing of Jesus. We recall that in the Last Supper dialogue listed above Judas says: "You wanted me to do it..." This statement is probably referring to his being "forced" to the Temple.

When Judas reaches the Temple he says to Caiaphas and Annas, "I have no thought at all about my own reward. I really did not come here of my own accord. Just don't say I'm... Damned for all time". Obviously, Judas was persuaded by some outside force to go to the Temple and betray Jesus. Judas apparently thinks that this force was Jesus. In addition, Judas is caught in the middle of his compassion for Jesus and his respect for the Jewish authorities. Because this film begins primarily with the Passion, we have no prior knowledge that Jesus preached against the leaders of the Temple. In The Temple, when Jesus destroys the Temple's market place, Judas is horrified. Therefore, in a sense, Judas is not only betraying Jesus, but he is betraying the Sanhedrin as well. Again, this theory works because he thinks that Jesus wants him to be the betrayer. The film tells us that the Sanhedrin have evil intentions, so betraying them does not count against Judas. His duty, however, remains extremely difficult.

In Damned For All Time/Blood Money Judas is worried about being "damned" forever. Judas, like Pilate, does not want to be recognized with the blame for Jesus' death. Caiaphas and Annas add to Judas' insult by offering him money. This aspect of bribe money in Superstar is completely different from the Synoptics' depiction of this scene. Again, Superstar is using biblical narrative and symbolism and distorting it through its radical characterizations of popular biblical characters and plot. Ironically, Judas accepts the money so that he can give it to the poor. This scene is reminiscent of A Strange Thing Mystifying because Judas wants to help the poor, rather than keep the money for himself. Judas, on his knees, speaks these words of betrayal: "On Thursday night you'll find him where you want him. Far from the crowds, in the Garden of Gethsemane". As I mentioned earlier, the pitch of Judas' voice appears strained and high, almost as if someone or something is forcing the words out of him. My reading of the scene is that God (or the confines of the script/fate) is forcing him to speak these words. Directly after Judas betrays Jesus, the Heavenly Choir chimes in singing, "Well done Judas. Good old Judas". God is expressing His/Her approval, even though He/She remains unseen. The film drives its audience to speculate, but it is obviously suggesting that this Choir represents God.

The Last Supper, as I mentioned earlier, depicts a heated conflict between Judas and Jesus. Each of them blames the other, but the audience is aware that they are both wrong in their accusations. The scene ends with Judas running off, dividing a herd of sheep-- a bit more subtle symbolism within the film. These sheep can be seen throughout the film (What's The Buzz, The Last Supper, John 19:41). Judas, through his rejection and betrayal of Jesus, "divides the sheep". There are numerous interpretations that can be derived from this scene, but its underlying message is that Judas has disrupted the unity and cohesiveness of Israel.

Judas' Death is one of Superstar's most powerful scenes, and it embodies the theology of the film through Judas' tragic realization. Judas has just witnessed the beating of Jesus by the Roman soldiers, and he has returned to the Temple to confront Caiaphas, Annas, and the rest of the Sanhedrin. Judas now realizes two things: 1) that he will carry the blame for Jesus' death; and 2) that Jesus had not planned for Judas to betray him. Judas is raving, and on the verge of insanity. Judas screams: "You beat him so hard that he was bent and lame. And I know who everybody's going to blame. I don't believe he knows I acted for our good. I'd save him all this suffering if I could. Don't believe... Our good... And I'd save him... If I could". Judas' good intentions here our clear. When Judas goes back to the high priests in Matthew 27:3-5, he is repenting for his sins. Here, in Superstar, he is not repenting, but realizing. This realization, however, comes too late for any possible change. Therefore, Judas is doomed, and he adds: "Christ, I know you can't hear me, but I only did what you wanted me too. Christ, I'd sell out the nation, for I have been saddled with the murder of you". Judas does not really admit to any sin on his part. In fact, he appears to say that this sin has been put upon him by someone: "I have been spattered with innocent blood. I shall be dragged through the slime and the mud". Judas now comes to the sad conclusion that he has been used. After Caiaphas and Annas leave him on the ground, the sky blackens and Judas runs off, tearing at his clothes. As he runs, he screams, "My mind is in darkness. God, God I'm sick. I've been used, and you knew all the time. God, God I'll never ever know why you chose me for your crime". Judas climbs a tree and hangs himself with his own belt. His last words are, "God, you have murdered me!"

Judas' fate is tragic to say the least, and God undoubtedly gave him the hardest task to unknowingly fulfill. He has his "moment of clarity" too late, and he cannot escape the confines of the script/God. God used him up, and killed him.

Judas returns as Jesus is "transfigured" in the song entitled Superstar. Here is the only true prophetic vision that Jesus receives, and it is of Judas descending on a flashing cross. Teams of heavenly female angels join him in his address to Jesus. The scene is magnificent and Judas is clearly interrupting Jesus' moment of glory. Judas is still questioning Jesus, and he still does not understand what purpose Jesus' death will serve: "Did you mean to die like that? Was that a mistake or did you know your messy death would be a record breaker? Don't you get me wrong. I only want to know". As the song progresses the camera flashes between this scene and Jesus carrying the cross. The angels join in: "Jesus Christ, Jesus Christ, Who are you? What have you sacrificed? Jesus Christ, Superstar, do you think you're what they say you are?" It is almost as if Judas and the angels are mocking Jesus. The scene shifts to the Crucifixion, and Judas, ironically, has had the last word.

Before I discuss the Crucifixion, it is necessary to address Pilate's role within this film. Pilate, like Judas, is an individual who has been "saddled" with the blame for Jesus' death. Pilate is introduced in Pilate's Dream, where he, not his wife, receives a revelation concerning Jesus and his own role within Jesus' history. There are four sections of prophecy in Pilate's Dream: 1) Pilate meets Jesus, a man with a "haunting" look; 2) Pilate questions Jesus and gets no answer; 3) Angry men who hate Jesus come, and Jesus disappears; and 4) "thousands of millions" of people are crying out for Jesus, mentioning Pilate's name, and "leaving him the blame".

In this scene, the audience is told that Pilate is indeed part of God's plan. It appears that Pilate is confused by this vision, and that he does not fully understand its significance. God's involvement is again confirmed by the "Heavenly Choir" which chants, "Pilate, Pilate". The camera moves from Pilate's confused expression to a shot of the sun shining through the clouds. Throughout the film, this image appears often, and it is undoubtedly suggesting the divine presence.

Pilate reappears in Jesus Before Pilate, which directly follows The Arrest. Superstar's Sanhedrin is similar to the gospels in that they bring Jesus to be judged by Pilate because their Mosaic law prohibits them from putting a man to death during the Passover feast. Apparently the vision that Pilate received left him unconvinced, because, when Jesus is initially brought before him, he says mockingly: "Oh, so this is Jesus Christ, I am really quite surprised. You look so small, not a king at all. We all know that you are news, but are you king, King of the Jews". Pilate is only concerned with the question of "kingship", and the film does a nice job of paraphrasing the gospels into modern dialect. Pilate, like Judas and Jesus, is a tragic figure, because he is unable to understand or comprehend God's role. For Pilate, the nature of this kind of comprehension would have been difficult to accept, because he is a Roman, and not supposed to believe in God. Pilate, perhaps trying to rid himself of any blame, sends Jesus away to Herod, as he did in Luke 23:6-12. Herod dismisses Jesus and sends him back to Pilate. The stage is set, and the crowds fall in to witness Jesus' trial before Pilate.

The entire scene is set outdoors in some sort of a ruined coliseum. Therefore, the Johannine setting is not followed at all. The film wants a conflict, wants to show the terrible choice Pilate is forced to make by the Jews, and by God. Caiaphas, representing Israel, tells Pilate to put Jesus to death, because their law does not allow them to do so. Pilate seems to ignore this, and speaks personally to Jesus: "Talk to me Jesus Christ... Where is your kingdom? Look at me. Am I a Jew?" Jesus' reply rings with uncertainty: "I have no kingdom in this world... There may be a kingdom for me somewhere. If you only knew". The movie is using the pattern of Jesus' trial before Pilate from the gospels, but its depiction takes on a different meaning because of its characterizations of Jesus and Pilate. Soon after, Jesus and Pilate begin conversing, the "Mob" jumps in with shouts of "Crucify him!", and "We have no king but Caesar". Pilate attempts to talk back to the crowd, but they drown him out. Pilate then decrees, "I see no reason. I find no evil... To keep you vultures happy I shall flog him". A soldier takes a whip and begins the flogging, as Pilate counts the lashes out loud. Several important depictions come forth during this long and drawn-out flogging. First, the "Mob' becomes even more frenzied and out of control. Second, Magdalene is shown wailing among the "Mob", and she appears to be the only one that is clearly against Jesus' being tortured. Third, as the number of lashes increases, Pilate and Herod become disturbed. When the flogging is over, a silence falls over everyone. Pilate reaches down to Jesus, holds him in his arms and says: "Why do you not speak when I hold your life in my hands? How can you stay quiet? I don't believe you understand". Jesus replies: "You have nothing in your hands. Any power you have, comes to you from far beyond. Everything is fixed and you can't change it". Jesus' reply bears a resemblance to Jesus' declaration in John 19:11 when he says, "You would have no power over me unless it had been given you from above; therefore the one who handed me over to you is guilty of a greater sin". In John, we must remember that Jesus and God are the same, and Jesus knows all. Superstar uses John to demonstrate Pilate's ignorance of God, but Jesus' response also exemplifies his jaded "moment of clarity". Jesus knows that "everything is fixed", and he knows that nothing can prevent his death any longer. I truly do not think, however, that Jesus knows what this "everything" is. He still is unaware of what his death will bring about, he only knows that he will die.

Pilate literally washes his hands of Jesus' blood, and calls Jesus an "innocent puppet". Here we see Pilate's clarity, but even though he realizes the true nature of Jesus, he will always be left with the blame for Jesus' death.

Superstar's Jesus, Judas, and Pilate all have tragic roles. Their "fatal flaws" are that they cannot escape their destiny, which is controlled by the power of the script/God. They all portray a sort of inner confusion which also contributes to their general demise. None of these characters reach any kind of ultimate glory. Jesus is crucified, but the significance of his death remains to be seen. Judas ascends into heaven, but he is still not given any knowledge pertaining to Jesus. In Pilate's last scene, he is defeated by the very people he has been commissioned to rule over.

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THE MESSAGE OF JESUS CHRIST SUPERSTAR

Jesus Christ Superstar is a powerful and extremely thought-provoking film, which uses the symbolism and theologies of the canonical gospels to create its own version of the story of Jesus' life and ministry. The technique is exemplified in the film's characterization of Jesus, Judas, Pilate, and Magdalene. Furthermore, the interrelationships between these characters allow the audience to visualize the major themes that the film is putting forth.

I have found that Jewison and Rice have primarily used Johannine theology to create their Jesus character. In addition, it appears that they used Matthew to characterize Superstar's Judas. Their methods, however, involve the tampering of gospel traditions. For example, Superstar's plot concerning Judas resembles Matthew, but the film changes Matthew's characterization of Judas to create an almost opposite scenario. Matthew's plot remains, but his ideas are thrown out. The same can be said of the film's use of John. For example, the birth of Jesus in Superstar bears a striking resemblance to his birth in John. When Jesus dies in the film, the camera shows Jesus' face bathed in light. Therefore, these bookend scenes are aimed to remind us of Johannine plot and theology, but the film's Jesus character is far from being a part of God. In fact, one of Superstar's major themes is the suggestion that Jesus was merely a mortal man.

I found that certain aspects of the film, like "The Triangle", attempted to stretch the boundaries of the gospel traditions. The gospel plot is predictable, and many of the biographical films of Jesus drag (e.g., King of Kings and The Greatest Story Ever Told), because the outcome of the film is basically known by the audience. In Superstar, gospel symbolism and theology is used by Rice and Jewison to create a new plot which is foreign to the gospels. Judas' characterization is a perfect example of this.

The role of God in the film is also related to the strong fixture of gospel plot. Superstar's God embodied this fixture. He/She was the predictability of the gospel plot, but Superstar's plot became altered because key characters like Judas and Jesus tried to fight against God, against the predictable script. They both failed, but their efforts made for a new and interesting theological conflict.

This essay contains a great deal of thought and scholarship concerning Jesus Christ Superstar and its relationship to the canonical gospels, but there is still much more than can be explored within this relationship. The varied characterizations of these principle figures offer a completely new perspective on the possibilities of Jesus and his ministry. What if Jesus was merely a mortal agent of God, and what if Judas was his equal? The image of this film that stays with me, is the shot of Golgotha as the actors return to the bus. As they offer their last looks, we see a vacant cross silhouetted by the setting sun. Below the cross, one can faintly make out the image of a shepherd leading his sheep across the hill. The movie closes by giving its audience an image of continuation. The show may have come to an end, but the ideas that it brought forth have just begun to be considered. Jesus Christ Superstar is truly a masterpiece, which is not afraid to question the validity of Christianity and Jesus Christ.

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WORKS CONSULTED

1. Brown, Raymond E. 1970. The Anchor Bible: The Gospels According to John (xiii-xxi). 843-860. Doubleday and Company Inc.

2. Humphries-Brooks, Stephenson. 1997. The Celluloid Savior. Chapter One. Hamilton College: Unfinished Manuscript

3. Humphries-Brooks, Stephenson. 1995. The Mercer Commentary
on the Bible: The Gospel According to Matthew. 970-971. Mercer University Press.

4. Jewison, Norman. 1973. Jesus Christ Superstar (The Movie) MCA Pictures, Inc.

5. Meeks, Wayne A. 1993 The Harper Collins Study Bible (New Revised Standard Edition). 1841-2055. Harper Collins Publishers.

6. Webber, Andrew Lloyd and Rice, Tim. 1973. Jesus Christ Superstar: Original Motion Picture Soundtrack. MCA Records, Inc.