As played out by a theatre troupe, the last days of Jesus Christ are depicted from the perspective of Judas Iscariot, his betrayer. As Jesus' following increases, Judas begins to worry that Jesus is falling for his own hype, forgetting the principles of his teachings and growing too close to the prostitute Mary Magdalene.
As played out by a theatre troupe, the last days of Jesus Christ are depicted from the perspective of Judas Iscariot, his betrayer. As Jesus' following increases, Judas begins to worry that Jesus is falling for his own hype, forgetting the principles of his teachings and growing too close to the prostitute Mary Magdalene.
The film receives a Left-Leaning rating because its central problem critiques the co-option of a spiritual message by political forces and mob mentality, emphasizing the human vulnerability of its leader and the disillusionment of a pragmatic revolutionary, aligning with a critical examination of power structures and societal pressures.
This film demonstrates significant diversity through its casting, notably featuring a Black actor in a central, traditionally white biblical role. The narrative, however, focuses on universal themes of power, betrayal, and human nature, rather than explicitly critiquing traditional identities in a modern context.
The film features characters like Judas Iscariot and Mary Magdalene, who were historically Jewish (Middle Eastern/Semitic). These roles are portrayed by Black and mixed-race actors, respectively, which constitutes a change in race from their historical and canonical origins.
The film portrays Jesus as a deeply sympathetic and tragic figure, emphasizing his humanity, suffering, and the profound impact of his teachings. While Judas questions Jesus's divinity, the narrative frames Jesus's sacrifice with respect and pathos, aligning with the dignity of the faith's central figure.
The film depicts the Jewish religious authorities (Sanhedrin) as the primary antagonists, driven by fear and political expediency to orchestrate Jesus's arrest and crucifixion. This portrayal reinforces a problematic historical narrative, showing the institution as rigid, hypocritical, and oppressive in its actions against Jesus.
Norman Jewison's film 'Jesus Christ Superstar' is a rock opera depicting the final week of Jesus' life. The narrative focuses on biblical figures and events, and does not include any explicit or implicit LGBTQ+ characters or themes in its portrayal.
The movie does not contain any action or adventure elements.
The film adapts biblical figures, maintaining their historically and canonically established genders. No major characters are portrayed on screen as a different gender than their source material or historical record.
Combines user and critic ratings from four sources