It is ironic that one of the financial capitols of the world would be used metaphorically to draw out the last days of Jesus with an ensemble of outcasts and freaks, world-weary in early 70's Manhttan, and brought together by the blast of an ancient trumpet to the song "Prepare Ye the Way of the Lord!" When Jesus does appear, it is ironically in Central Park's notorious Ramble, facing the Angel which graces Bethesda Terrace's fountain.
Everybody who watches this movie is going to look at it in a different way, and for me, it is like Jesus coming to modern times for a day, gathering up young followers craving something to believe in, showing them how he suffered and died, all to remove the sins of the world. Unlike the same era's "Jesus Christ Superstar", "Godspell" is told without pretension, and thus remains an easy-going look at a subject that sometimes becomes taboo because of the political correctness atmosphere which has taken over freedom of speech and the simple joys which was the bulk of the message of Jesus in his real time on earth.
David Haskell seems to be playing an amalgamation of both John the Baptist and Judas, seen baptizing young Victor Garber, clad in Superman T-Shirt with suspenders and frizzy afro. This Jesus is like a late-day flower child, filled with love, yet overcome with anger only briefly when his message is not taken seriously. Jesus takes his followers all over Manhattan and to the delightful songs of Stephen Schwartz, tells them what is expected of them. The message is simple: Love your neighbor as yourself, don't worship God AND money, and when wrongs are done to you, turn the other cheek and forgive.
A recent Broadway revival failed in the critic's eyes because of its overly simple manner, but any version of "Godspell" is going to have to thrive on its innocence, rather than the pretentious revivals that have been done of "Jesus Christ Superstar". This revival did still have a fairly lengthy run in spite of the reviews, showing that there is still a vast atmosphere of innocence, while the simultaneously running "JCSS" didn't have similar success as far as a lengthy run was concerned.
One of the best moments has the cast literally going across town in a matter of seconds from being at Grant's Tomb down to the World Trade Center and back to Central Park. Haskell and Garber have a great moment where they dance on a skyscraper in Times Square that seems like something out of the 1940's. A new song, "Beautiful City", is as potent to me as both versions of "New York, New York" in what makes New York City exciting. This film not only doesn't hide the sinful side of Manhattan's obsession with fiancé, but also pays tribute to the joy that comes out of its creative and sometimes hidden spiritual side as well.
Of the remainder of the cast, only Lynne Thigpen has any familiarity, the rest being delightfully obscure yet talented young performers who never became headliners even on the Broadway stage. For that, this film is unique in its presentation, and is a very worthy record of what the original Broadway production tried to reveal to its audience in its very spiritual message. The film does become a downer towards the end, but there is a sense of irony as the shot of the crucified Jesus is replaced by Park Avenue crowds just before the credits roll.
Everybody who watches this movie is going to look at it in a different way, and for me, it is like Jesus coming to modern times for a day, gathering up young followers craving something to believe in, showing them how he suffered and died, all to remove the sins of the world. Unlike the same era's "Jesus Christ Superstar", "Godspell" is told without pretension, and thus remains an easy-going look at a subject that sometimes becomes taboo because of the political correctness atmosphere which has taken over freedom of speech and the simple joys which was the bulk of the message of Jesus in his real time on earth.
David Haskell seems to be playing an amalgamation of both John the Baptist and Judas, seen baptizing young Victor Garber, clad in Superman T-Shirt with suspenders and frizzy afro. This Jesus is like a late-day flower child, filled with love, yet overcome with anger only briefly when his message is not taken seriously. Jesus takes his followers all over Manhattan and to the delightful songs of Stephen Schwartz, tells them what is expected of them. The message is simple: Love your neighbor as yourself, don't worship God AND money, and when wrongs are done to you, turn the other cheek and forgive.
A recent Broadway revival failed in the critic's eyes because of its overly simple manner, but any version of "Godspell" is going to have to thrive on its innocence, rather than the pretentious revivals that have been done of "Jesus Christ Superstar". This revival did still have a fairly lengthy run in spite of the reviews, showing that there is still a vast atmosphere of innocence, while the simultaneously running "JCSS" didn't have similar success as far as a lengthy run was concerned.
One of the best moments has the cast literally going across town in a matter of seconds from being at Grant's Tomb down to the World Trade Center and back to Central Park. Haskell and Garber have a great moment where they dance on a skyscraper in Times Square that seems like something out of the 1940's. A new song, "Beautiful City", is as potent to me as both versions of "New York, New York" in what makes New York City exciting. This film not only doesn't hide the sinful side of Manhattan's obsession with fiancé, but also pays tribute to the joy that comes out of its creative and sometimes hidden spiritual side as well.
Of the remainder of the cast, only Lynne Thigpen has any familiarity, the rest being delightfully obscure yet talented young performers who never became headliners even on the Broadway stage. For that, this film is unique in its presentation, and is a very worthy record of what the original Broadway production tried to reveal to its audience in its very spiritual message. The film does become a downer towards the end, but there is a sense of irony as the shot of the crucified Jesus is replaced by Park Avenue crowds just before the credits roll.