Godspell (1973)
I’m willing to give Godspell the benefit of the doubt. This musical is not entirely successful. The elements that work do add up to enough to make it worth seeing for a certain target audience. What we have on our hands may be a cheap knockoff of Jesus Christ Superstar (which came out the same year and deals with similar subject matter) but then again, it feels earnest.
Based on the Gospel of St. Matthew but set in New York, John the Baptist (David Haskell) gathers a diverse band of young citizens to follow and learn from the prophecized Messiah, Jesus Christ (Victor Garber). The film takes a humorous tone and describes through skits, songs and mime several Parables such as The Good Samaritan, The Prodigal Son, the Beatitudes, and others.
This film is very much a product of its time, to a fault. It’s unclear why Jesus has an almost clown-like look with makeup on his face (a big heart on his forehead and tear marks below his eyes), or why the abundance of rainbows and goofy voices. To contrast the New York setting? I wouldn't consider these choices, the way the musicals are handled or the fashion and hairstyles evergreen.
The film is more intelligent than it initially seems. The bright colors, miming, singing and exaggerated dances are deliberate choices. At the beginning of the film, everyone looks very formal with their briefcases and such. No one is having any fun. Even the ballerina looks like she’s working, not dancing. When Jesus appears though, formality vanishes. The only people left are the ones having fun, those who dress in colorful, outlandish clothes and paint their faces. These visual clues, the songs, and silly, simplistic interpretations of the parables are meant to appeal to children and child-like audiences. Matthew 18:3 reads “I tell you the truth, unless you change and become like little children, you will never enter the kingdom of heaven.” The intent is clear. The look is meant to be jarring and to be only fully understood upon further reflection.
Other elements also show some profundity, like the choice to cast one actor for both John the Baptist and Judas. We're not given a clear definition of when one character ends the other begins. The depiction of the Pharisee is another strong scene for the way it makes a point without demonizing or criticizing any specific group of people and for the special effects utilized.
The scenes that work are often matched with others that frustrate. The crucifixion is portrayed in a way that's confusing rather than heart-wrenching. Another letdown is the songs, which are not particularly memorable. The vaudeville-like dances in Times Square are iconic and charming, but there’s only maybe one song that I would recognize from the soundtrack. Lastly, the limited cast does make for some interesting choices but not always. A max of 9 people on-screen at a time is too few.
You probably didn't know what to make of Godspell when you saw it. Give it another chance and think about the choices made throughout by director David Greene. Its approach to the biblical passages is unusual. In this case, this translates to "unique" and "original". Think about what I said about children and the way they approach these stories. You'll see that Godspell is flawed and dated but quite inspired. (On VHS, April 10, 2015)
