So you’ve never heard the original concept album? It’s really the yardstick by which all stage/film productions and their corresponding cast albums have been measured.
No, I have - it’s just it wasn’t my intro to it. I do like it but think that some of the instrumentation has been improved as the thing has evolved over the years. I’ve since seen two more professional stage productions too.
Mutually exclusive? Really? I don’t think so.
*Especially *during the 70’s. Rocky Horror. Bowie. Jagger. Men were “gay” while simultaneously being as hetero as the day is long. Y’know, lusting after poolboys *and *jailbait nieces.
I have no problem with the gay camp version of Herod as tradition. You really need a few feather boas and glitter thongs to lighten things up by that point in Act II. Plus, it whips the audience up into a laughing frenzy, forgetting for a moment why Jesus is there, and it makes “Could We Start Again, Please?” that much more impactful in it’s straightforward plea for sanity.
Was “Could We Start Again Please?” in the movie?
Yes.
Yes. Some TV broadcasts cut it for time. Heck, I’m not sure if the theatre I saw it in back in '73 showed it or ‘Then We Are Decided’ (Annas & Caiaphas conspire to turn the Sanhedrin against Jesus).
To the main discussion re Ted Neely- I was a fan of the 1970 album. I was disappointed in Neely at the time (in 1973 I was 11).
Since then, my affection has grown & I now look on the movie with nostalgia. On the other hand, I hate the 2000 video production.
To expand upon a previously made point, Glenn Carter, the 2000 Jesus, is a Raelian.
Trivia: On the inital 1970 concept album, the singers were offered either a flat $2500 (good money back then) or 1/2 of 1% of the album’s profits. Head was the only singer who took the profits, and it made him a millionaire.
I saw Neely when Jesus Christ Superstar came to town…it was not great. I think he believes he is Jesus. His movements were very contrived, it just came off so badly.
I’ve only seen the 73 film- and only once.
I remember being blown away. ‘Ya mean Webber actually had talent once? He wrote that?’
Being a good Jewish boy, I mostly fixated on Mostel. How does Zero’s son wind up in such a goy show?
BTW-
Somewhere I have a vinyl of the musical Richard Nixon Superstar
Chaim Topol (the movie [and imo the best] Tevye- the second most famous being Josh’s dad of course) was actually fairly important in the making of Jesus Christ Superstar. He wasn’t “the film wouldn’t have been made without him” important, but Norman Jewison (who in spite of his name and having directed Fiddler on the Roof is not a Jew) said he leaned on Topol 24/7 for most of the pre-production.
This is per a documentary about Fiddler on the Roof that aired ten years ago or so: When Jewison first went to Israel to find locations for JCS he was escorted by reps from the Israeli film commission but he just didn’t feel he was getting the full story. While in Israel he already planned to see Topol (they’d just worked together a couple of years before) and of course they talked shop and he asked him his opinion of some of the people and the places.
I don’t remember the exact stories, but Jewison said that unlike the film commission people Topol gave him, well, the straight dope. I’m paraphrasing based on what I remember, but stuff like “Oh, that part of the desert would be a great shot, but there are going to be contrails visible 5 hours every day from military maneuvers” or “Yes, the mayor of that town is very cooperative with film crews, but it’s because he considers his wife the world’s greatest singer and he’s going to pester you to death to use her in the movie just like he did when we made Sallah” or “For what you’d pay to shoot there’s a town near Tel Aviv that looks better and would cost you a third as much” type info.
In any case, Jewison began by asking Topol for a favor and ended up leaning on him so much it became something of an imposition of his time because Topol was flying with him all over Israel. He said at one point he asked Topol if he would consider a cameo in the film (I’m not sure who- a priest maybe) to which Topol basically said (again, paraphrasing) “Seriously? Seriously? ‘You loved him in Fiddler on the Roof, now see him crucify Jesus’? No thank you*.” In any case, I don’t know if Topol is mentioned in the credits, but Jewison did say he became an investor in a play Topol was doing at the time as a thank you for all of his time and help.
(*Josh Mostel is of course the son of another famous Tevye, but in real life Zero was an atheist and his wife/Josh’s mother was Catholic so I wouldn’t imagine the baggage was as heavy for Josh.)
huh [Johnny Carson] I did not know that[/Johnny Carson]
I can’t vouch that this is true, but it’s a great story, so I’ll pretend it is.
Josh’s father Zero Mostel played Tevye in the original Broadway cast of Fiddler on the Roof, and assumed he’d be offered the role when a movie version was made. Allegedly, he was furious when Norman Jewison gave the part to Topol (who, in my opinion, was great in the role).
When Josh told his father that Norman Jewison had offered him the role of King Herod in the movie version of Superstar, Zero is said to have screamed "Tell that son of a bitch to hire TOPOL’S SON!"
As for why the Herod role is so campy… well, I think Webber and Rice were following history. In medieval Passion Plays in Europe, Herod was the comic relief. Herod was always a sought after role, because he was played as a goofy, silly, comical character who was just DYING to see Jesus do magic tricks. Any medieval European with a hammy streak would KILL for the role of Herod, and would camp up the performance to the max.
Huh, I was told that Zero Mostel was offered the film role. But that he had to shoot on location. Zero refused to fly to Europe. So Topol got the role.
Re Herod IIRC Shakespeare mentions this in Hamlet. The prince tells the players not to be too hammy and “not to out-Herod Herod.”
From all I’ve read and seen of Zero Mostel, it sounds like him.
Great clip of Jim Brochu in his one man showZero Hour talking about his mother-in-law.
I agree. When I think about this movie, I automatically go to that scene.
Does anybody know if Gillian and Head were considered for the movie and, if so, why they weren’t cast? It was such a smash album that it’s surprising they went such a different voice.
I just wanted all of you to know that I’ve been singing “I Don’t Know How to Love Him” obsessively for the past two days.
I never thought I’d come to this!
Last night, I dreamt I met a Gallileean! :eek:
Okay, I’m in the minority here. I think Neely did a good job in the movie.
For example, I liked his performance in the Herod scene better than Carter’s. Neely was stoic - he was neither impressed or intimidated by Herod. He acted as if it was just another thing he had to endure on his path. This indifference enraged Herod who wanted some kind of reaction from his audience.
Carter’s Jesus reacts to Mayall’s Herod, which I feel is a mistake. It puts Jesus down on Herod’s level.
In 1973, Ian Gillan was lead singer of Deep Purple, who’d just recorded the smash album Machine Head, featuring the classic hit “Smoke on the Water.” Deep Purple was selling out big arenas all over the world that year, so even if Norman Jewison had WANTED Gillan to play Jesus, Gillan probably would have had to turn him down. He just didn’t have time, and was probably making MUCH more money on the concert circuit than JEwsion could have paid him.