Films
A film adaptation of Jesus Christ Superstar was released in 1973, and was the eighth highest-grossing film of that year. The film, directed by Norman Jewison, was shot in Israel and other Middle Eastern locations. Ted Neeley and Carl Anderson were both nominated for 1974 Golden Globe Awards for their portrayals of Jesus and Judas. Bob Bingham reprised the role of Caiaphas, having played the part in the original Broadway production. Barry Dennen (Pontius Pilate) and Yvonne Elliman (Mary Magdalene) were the only performers who remained from both the original recording and Broadway cast. Though it attracted criticism from some religious groups, the film was generally well received. A new song was written for this adaptation, called Then We Are Decided, though it wasn't used in the Broadway productions.
A second film adaptation was released in 2000, starring Glenn Carter as Jesus, Jérôme Pradon as Judas, Renee Castle as Mary Magdalene and Rik Mayall as Herod. The film was directed by Gale Edwards and Nick Morris. It won an Emmy in 2001 for Best Performing Arts film. The style of the film is more like the stage version than the location-based 1973 adaptation and used many of the ideas from the tour from around that time. Several members of the film's cast, including Carter, later went on to the Broadway production after shooting the film.
A live recording of the 2012 arena tour was announced. It was to be shown in U. S. cinemas as a one week special, but was canceled due to unforeseen circumstances the day the performance was to take place. It was shown in Australian cinemas in November 2012. A DVD and Blu-ray copy of the film will be released in the UK on November 19th. DVD will be region 2 but Blu-ray will work in all regions. An international release of the arena tour DVD is planned for early 2013.
A third film adaptation is expected to be released in 2014. Marc Webb is set to direct.
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Famous quotes containing the word films:
“Television does not dominate or insist, as movies do. It is not sensational, but taken for granted. Insistence would destroy it, for its message is so dire that it relies on being the background drone that counters silence. For most of us, it is something turned on and off as we would the light. It is a service, not a luxury or a thing of choice.”
—David Thomson, U.S. film historian. America in the Dark: The Impact of Hollywood Films on American Culture, ch. 8, William Morrow (1977)
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