User Reviews

Let me start this review by saying that I'm not a Christian and I don't believe you have to be one to enjoy this movie. I first saw Godspell when it was released in the early '70's and have seen it many times since then.

I was having a conversation with a friend recently (he is a pastor) and I told him that I've always felt this movie wasn't made solely for Christians. In the 70's, there were a lot of young people looking for meaning in their lives, and I firmly believe Godspell was partially an attempt to reach out to those folks.

Many reviewers have had issues with the movie - John the Baptist and Judas are played by the same person, and while the crucifixion is addressed, the resurrection is not. Some have called it sacrilegious, others have found it offensive. However, if you were a young person in the 70's who was looking for some direction and wanted to find out about the basic teachings of Jesus Christ, what better way than to see a movie full of catchy pop songs and a cast of joyful young people being brought to him in (then) modern New York? Even if you were already a young Christian, you now had a way to celebrate the teachings of Christ with a style of music you were probably listening to anyway. I absolutely believe that this movie had a relatability that might have been missing in some of these people's lives. Bear in mind that the original stage version was written by a college student working on his masters.

Yes, the movie is dated and silly and overacted and hammy in parts. There is a lot of skipping, singing, acting out of parables and dancing going on while most cast members are wearing clownish outfits. All of that being said, I have never seen such heartfelt joy while a message was being given - the cast looks like they are having the time of their lives. The mood does become quite somber and sad towards the end, but the movie ends on an upbeat note of hope.

If I'm not mistaken, all of the cast members were unknown on the big screen when the movie was released. I think casting unknowns was a good move - I don't think it would have packed the same punch or had the same level of relatability if it had bigger names.

I wanted to make a comment regarding the song "Beautiful City". I don't know what the original meaning was for sure, but my take away from it has always been that now that the cast has been taught, they can spread the word to others and help them build a strong foundation that isn't made of alabaster and chrome. Some have thought the song wasn't appropriate for the movie - I guess it all depends on your interpretation.

So taken in the proper cultural perspective, Godspell is a powerful, uplifting and moving film about the basic teachings and crucifixion of Christ done '70s style. If you think you can get past the few discrepancies and the clownish clothing, it is worth a watch. And, again, you don't have to be a Christian to enjoy it.

A few years ago I had the opportunity to travel to England with a church group. I sang in the chorus as the group presented "Godspell" to audiences in the area around Birmingham. At the time I wasn't familiar with the stageplay. I found it a very powerful experience, and it clearly impacted the audiences who saw it as well. This was my first opportunity to see the movie version of the play. Frankly I prefer the stageplay (perhaps I'm biased, having been involved with a production) but still found the movie enjoyable.

Based on the Gospel of Matthew and set to some wonderful songs, the story is set in modern day (well, 1973) New York City, where a group of people find themselves called out of the rat race by John the Baptist, get baptized in a city fountain and are then joined by Jesus (played by a young Victor Garber, whom I did not recognize!) in a romp through the city. Absolute purists and those who think the Gospel can only be told in King James Version style will likely not like this, and may even be offended by it. Jesus, for example, has a clown-like appearance to him, as do most of his disciples. And yet, that probably is an appropriate balance to the overly serious Jesus that many seem to picture in their minds. I like to think Jesus was in fact full of joy, and brought laughter to all those around him. Clown-like though he may be, the movie does, of course, become darker as it progresses, culminating, of course, in Jesus' betrayal by Judas and then his crucifixion. I found it interesting that David Haskell played both John the Baptist and Judas, and wonder whether the writers were making their own theological point in casting the same actor: that as John the Baptist prepared the way for Jesus to call his disciples, so too did Judas prepare the way for Jesus to impact the world? Maybe ...

Most of Jesus' ethical teachings (revolving around love for God and love and compassion for one another) are here. I find the most moving scene to be that in which Jesus, just before his betrayal, essentially says good-bye to his disciples. Although in 1973, this would have meant nothing except a portrayal of the New York City skyline, watched with post 9/11 eyes, the repeated shots of the World Trade Centre towers perhaps serve now as a stark reminder of how necessary Jesus' message is: that love for God means nothing unless it's accompanied by love (and not hatred) for others.

My biggest beef with this is the closing scene. Why go to the trouble of putting out this version of Matthew's Gospel, and leave out the most important part - not just of Matthew's but of all the Gospels - the resurrection of Jesus! Here, the disciples simply carry Jesus' body out at the end. Yes, there was a certain sense of joy as they did it, which may imply that their experience of Jesus continues to impact them, but still Jesus himself is dead. That definitely detracts from this. (Our group in England restaged the closing scene so that the resurrected Jesus celebrates with his disciples rather than simply being carried out.) That theological objection aside, overall, this is a fun presentation of the gospel message. 7/10

Even back in the 1970s, skepticism everywhere, the song "Day By Day" seemed like a genuine expression of reverence for the simple teachings of Jesus Christ, despite the obvious efforts in this film to make him a psychedelic hero. While the hippie costumes and clown make-up don't hold up very well today, the point of the movie is to deliver a view of Christ as the radical threat to the status quo that he was. This film was part of an effort to make us take a new look at the gospels (see "Jesus Christ Superstar" as well) and make them relevant to contemporary life while avoiding any mention of sex, drugs, and rock and roll. Overall, it may seem naïve and disingenuous now, but if you want a look at the anti-establishment, anti-materialism youth culture of the 1960s, this can't be beat. ---from Musicals on the Silver Screen, American Library Association, 2013

The story of "Godspell" is not one of the Christ's Passion, it's not about the angst among his disciples or the sexual tension he had with Mary Magdalen. It's a positive story focusing on Jesus' teachings and parables, told in a lighthearted way, with some outstanding music and spectacular location photography (particularly in the song "It's All for the Best").

While the hippie-like costuming and the semi-clown makeup seem to outrage some folks, and are admittedly dated today, the movie should be looked at in the context in which it was created. Jesus, in the eyes of those in power during his life, was a radical extremist and a threat to the status quo. He taught lessons of love, empowerment, inclusion, justice--well, you get the idea. Hippie clowns were the logical vehicle to present those lessons at the time "Godspell" hit the big screen.

But when you get past the period set and costume design, and to the basic show, "Godspell" is a wonderful entertainment. First, and most often mentioned by everyone, is the amazing location photography. You have to see it to appreciate it. Next is the music. Although the most commercial song in the show is the repetitive "Day by Day," the one song that most people remember from "Godspell", there are many beautiful melodies. My favorite is "By My Side", the only one with the music NOT written by the composer, Stephen Schwartz. It has beautiful harmonies, and Katie Hanley does a great job on lead vocal. The rest of the songs are nearly as good, and all are quite singable.

About the cast: Victor Garber (Jesus) is the most recognizable today, although for years, until her untimely death, Lynne Thigpen would probably have been recognized by more people. Garber has had quite a successful theatrical career, and has appeared in supporting roles in many movies and TV shows. Ms. Thigpen, who was mostly known for her PBS shows, had an award-winning stage career, as well as being very successful on the small screen.

Sadly, David Haskell (John the Baptist/Judas) and Jeffrey Mylett are no longer with us. I won't list the entire cast, since you can find that easily enough (if you're reading this, you probably already have!), but I will say that they ALL sang very well and displayed personalities that made you want to get to know them. The passing of musicals as a staple of the movie studio probably prevented these talented singer/actors from reaching a broader audience. I hope that they've all found success on stage.

At the very least, I hope that they all know how their lively, engaging performances and beautiful singing have brightened our lives. It's been over thirty years since I first saw "Godspell" in the theater, and as I watched it yesterday on cable TV, I was reminded how much that movie meant to me.

And by the way, I'm not a Christian. But if I were, I'd like to be one as portrayed in "Godspell".

A very young Victor Garber (like over 4 decades younger) plays a Messiah-like fellow in this hippie-era musical, which is NOT very scriptural, but is very tender. The highlight is the song DAY BY DAY, sung by all the colourfully-clad hippie types who engage in decorating & cleaning up a neighborhood. I wrote this review to relate an anecdote about Garber by Martin Short who, with his (then) girlfriend, Gilda Radner, was in 2 live musicals in Toronto with Victor Garber: HAIR & GODSPELL.

When Garber showed up to audition for the lead, no one competed with him-Martin said, in his bio, that it was a foregone conclusion. In fact, when Garber was singing-either for audition or rehearsal-the dressing rooms & lobby would empty and everyone would come to listen wistfully to him perform. You may know Garber as the ship designer in Titanic, or the super-spy's father in ALIAS. He is a great actor, too, but try to catch him anywhere singing, either on YouTube, or in these early musicals. You are in for a treat.

Saw this in its original release, on a spring afternoon school trip to a large movie theater on Long Island, which is sadly gone now, like most large single movie theaters. I was so moved by this film that i wore out the soundtrack within a couple of years.

And speaking of buildings being gone, it's so poignant now to see the World Trade Center in this film while it was nearing its completion. With the cast singing the end of the song "All For The Best" on top of one of the towers, how eerie to think that spot doesn't exist anymore. (Also strange that in the beginning of the film, as John the Baptist wheels his cart off the Brooklyn Bridge, the camera pans to show the skyline, and with the Twin Towers there, there's a sound segue to the street scenes...and it's the sound of a jet engine!)

But maybe its appropriate that this film has moments of the Twin Towers in its infancy. Not only in the beginning, in the gorgeous first shot from under the Brooklyn Bridge, and in the song segment...but also when Jesus is on the pier and speaks away from everyone, and the Towers are there again in the shot behind him to the right.

In an odd way, this movie that always meant a lot to me, and count me in as one of the non-religious people out there...its one of the ONLY ways i can see the World Trade Center and feel happy. What other films that shot right at the Twin Towers have the life-affirming qualities that "Godspell" has? I don't know of any, to be honest.

And on that note, I always push this film to people, as one of the outstanding New York movies. Except for the mansion scene...you're at all these exterior locales, with New York empty of people...and to this very day, Manhattan comes alive with memories of this film when i come to a certain location. (Bethesda Fountain was first viewed by me in this film...so every time i go there, one guess what comes to mind.)

Watching it as an adult far from 1973, do I think the film would have aged better with less goofy voices from the performers? Sure. Could the film have been a little longer with the excised songs from the original song still in? You bet, and it still wouldn't have been longer than 105 minutes. Is the ending still one of THE best endings I've seen in a movie musical? Hands down, yes. How brilliant. No stage version of "Godspell" could have done that. Jesus' teachings still matter to many people in the modern day. (And yeah...get past the 1973 fashions and cars...all those scenes of modern NY in the beginning, and the last shot, still hold true today.)

Lastly, for those who were shell-shocked by Mel Gibson's film...i say use this as an alternative. Religious faith needs some smiles and toe-tapping now and then.....

It's an adaption of Gospel of St. Matthew as a hippie musical in present day NYC. John the Baptist gathers a disparate group of young people from all walks of life. Jesus (Victor Garber) leads his disciples through the city as the stories of the bible are reenacted with songs.

As a stage musical, this continues to be a favorite of the theatrical set. As a movie, this fails to transcends the stage onto the big screen. The limited cast and scale reduces its cinematic potential. It does have the great Victor Garber at the lead. However the transfer from live theater to a movie loses the immediacy. The movie needs to replace it with greater scale which a theater doesn't have.

I still love this movie. More because of the music than the film itself. I think it's interesting to follow actors' careers over the years. Victor Garber (Jesus) has been a very prolific actor over the years. His most recent is that of Jack Bristow on TV's Alias.

One of the other actors is Lynne Thigpen who later went on to play the police captain on "Where in the World is Carmen SanDiego?" and most recently as Ellie Mae Farmer in "The District" before her untimely death. She had a beautiful singing voice.

In one of the scenes notice that they are dancing on top of the World Trade Center as it is still being built. There are several scenes when you can see it in the background about 3/4 finished.

This is an important film for its historical content. The Jesus Movement was big around 1973-74. At the time, many of the hippie set were trying to make Jesus out to be nothing more than a guru. This film was a solid attempt to reach people with the Gospel of Jesus while still portraying him as the Messiah rather than just a spiritual leader.

I'm not religious in the slightest, but you don't have to be to enjoy this wonderful feelgood musical. I can't understand any bad reviews on here. I bet they were still foot-tapping away to the songs. I've seen several different versions of this on stage as well, but the film did the stage musical justice and, with the era, it is locked in time with the whole hippie scene and a more carefree look on life, on love and hope for the future, something that's missing in many ways today.

When I was young, probably younger than ten, I came under the spell of not one but two musicals about Jesus; one was the magnificent Jesus Christ Superstar, and the other was the much more light-hearted Godspell. I remember seeing the film version of Godspell only once, and that was probably close to twenty years ago, or more. I was lucky enough to get a chance to see it again courtesy of the library (free, no less).

Godspell is, well, a hippie version of the gospel according to Mark. Ten players cavort around in hippie rags and face paint singing songs about the parables of Jesus and the joy of following his teachings. Sure, it doesn't sound like much, but unlike JCS, Godspell is about reveling in the joy of Christ, which, even three decades later, isn't such a bad thing.

The hippie bit doesn't age well. While the group in question are unquestionably talented and can really sing, the whole face-painting acting goofy free spirit thing comes off as terribly dated. I did like the costume for Jesus-a just barely altered Superman shirt and a heart painted on his forehead (and two tears permanently tattooed under his eyes). But a lot of it comes off as either childish or just plain hokey and doesn't translate well to the modern era.

Ignoring the trappings for a moment, though, and you're still treated to some excellent music and some very positive reminders of what Christianity can be, which I'd guess we probably need even more now than people did three decades ago. The other treat in this film – and it is so wonderful it's worth sitting through the movie just to see – is New York City. Godspell boasts some of the best and most unusual locations ever filmed in New York, and the way the city is used to frame the music and the goings-on is simply brilliant. There's one cute number that takes place on top of the World Trade Center, which is a sobering scene now, and another scene where Jesus is taking the Pharisees to task and the towers are plainly (and purposely) visible in the background. Centers of commerce indeed. But it's not only for the World Trade Centers; Central Park is used brilliantly, as is the Brooklyn Bridge, and many other landmarks, as well as small out of the way places. New York becomes almost a character all by itself, and it's interesting to watch ten people and no one else dance around this enormous urban playground. While Godspell is worth watching in and of itself, the city makes it compelling viewing.

Everyone in the cast is good, but Victor Garber as Jesus is particularly good, as is David Haskell as John the Baptist/ Judas (a slightly confusing switch when it happens). Both men exude a natural charisma in their roles, and it's a bit of a surprise they didn't go on to become bigger stars.

Godspell comes off a little dated and corny, but it's a rare treat in that it actually rejoices in the words and presence of Christ, rather than dwelling on his grisly and unfortunate end, as most other productions do. Somehow I have to think that would have pleased Jesus himself, that focus on the light rather than the dark. Godspell isn't for everyone, but surprisingly, even though I find JCS a better musical, this is a far, far better movie than that.

I'm not sure how to explain all these positive reviews. Perhaps "blind faith"?

Godspell has dated terribly. It looks like some pathetic mash-up of Dr. Suess and Sesame Street, as masterminded by a brain-damaged face-painter. I'm not sure what's more irksome: the supposedly "comic" vocalizations or the non-existent characterizations. Rather than go on, I'll quote the Onion A.V. Club review, which sums up the problem pretty succinctly:

"As a movie, it's actively, fascinatingly terrible, with a vision of Christ more likely to instill in viewers a fear of traveling bands of loony street performers than a desire to embrace the Holy Spirit."

even though it was really hard to get on DVD we finally did and i was just blown away it is so good!!!!!by my side is the best and prettiest song i love it...the movie rocks and i want all strict religious people to watch this and see the real meaning of religion!!!!they portrait religion as such a violet thing to us with all the damnation and hells and literally scare us with that which does not accomplish anything...yet there is a musical like god spell which is so light and loving that shows us the great side of Jesus and how he himself was human and we could be like that instead of some Saviour no one ever can be like...i think schools should show this movie to all kids...i love this movie and i hope everyone reading this will watch it..its so worth it..and the actors and actresses are really talented...

I have seen this show as both a movie and as a stage show. Although the movie is magnificent in many ways (not the least of which is Victor Garber), it does lose something by not being live and interacting with the audience. 'You Are the Light of the World' in particular, which in the stage show is used to lead to the intermission, ended by having the actors serving wine to the audience.

Some have asked why Victor Garber did not do more movies. If there is a particular reason, I don't know, but I do know he has a successful Broadway/live theater career in addition to his television career. His performance in "Lend Me a Tenor" was particularly memorable, and I believe was nominated for a Tony award.

Worst thing ever. Combines tendentious religiosity with embarrassing hippie-theater shenanigans to create an unwatchable stew. Unlike, say "Jesus Christ Superstar," there's no dramatic development for nonbelievers; but far worse are the hammy performances, lame jokes and other extremely dated "dramatizations" of Biblical poesy. There are a couple of good songs (notably the hit "Day by Day" and "Prepare Ye the Way of the Lord"), but the visuals will likely overpower anyone who doesn't have a very strong theater-queerness gag reflex. Victor Garber's 'fro is impressive, though. I wish somehow they'd incorporated it into "Alias."

The hit Broadway musical Godspell was a contemporary adaptation of episodes from the Gospel According to St. Matthew. In 1972, its original Producers, Edgar Lansbury, Stuart Duncan and Joseph Beruh, decided to bring the Stephen Schwartz/Jon-Michael Tebelak musical to the screen themselves, with a view toward maintaining as densely as possible the artistic integrity of their original stage version.

That said, the film version merits special reference in light of the recent deaths of two of its principals: David Greene, who directed and co-wrote the screenplay, with Tebelak; and actress/singer Lynne Thigpen, who was a member of the 10-actor ensemble cast of the film.

Set in a New York City not yet recognizable to a generation destined to grow up in the shadow of 9/11, Godspell the movie is highlighted with spectacular moments that are best described as incredible. Its expanded opening number begins silently on the Brooklyn Bridge, as David Haskell, portraying both John the Baptist and Judas Iscariot, walks into the heart of Manhattan, hoping that his fellow New Yorkers will indeed "Prepare ye the way of the Lord." Jesus, portrayed by Victor Garber (who had a tremendous singing voice in those days), is depicted as a kind of manchild/Superman icon, determined to save the world through his ministry of three years. The ten actors then cavort across the screen over the next 95 or so minutes, telling parables in a raucously funny, delightfully rockin' manner.

In its final sequences, however, the film turns understandably dark, as Garber/Jesus confronts his ultimate destiny. Before long, the epic Finale, in which Garber, tied by his wrists to a chain-link fence, depicts the Crucifixion in horrifyingly simple terms; all the while, the other nine actors scream horribly as the rocking Schwartz score howls to its otherworldly symphonic conclusion.

With the coming of the dawn, the actors carry off their "dead" leader and vanish into the maelstrom of Manhattan, in a closing image that will shake you to its foundations, even as you groove to Paul Shaffer's awesome keyboard action during the expanded end-credit sequence.

The present generation knows Lynne Thigpen as a brilliant actress/singer and performer whose subsequent knack for portraying motherly or grandmotherly roles was no doubt spawned by her experience in the Godspell movie. To a whole universe of kids, however, she will always be known as simply "The Chief." If you were, as I was, a regular viewer of PBS Kids' Where in the World is Carmen Sandiego?, and its eventual spinoff, Where in Time is Carmen Sandiego?, you need not be made familiar with the Chief. She was tough, motherly, no-nonsense --- but she knew how to teach fans a thing or two, whether it was the power of geography or the realm of history.

Director David Greene, who died at the age of 82, was the fellow responsible for bringing the spectacular images of the Godspell film to the screen. It remains perhaps his most famous such feature, the only one wherein one could suggest that he was properly in tune with the youth of the 70s. Perhaps, even now, it is this that causes most folks to compare this film against Norman Jewison's film version of Jesus Christ Superstar. Both films, frankly, are what they are. No more, no less.

Enjoy, then, Godspell the movie --- but remember that you are also witnessing the blossoming of two of the unique talents who brought it to life: David Greene, director; Lynne Thigpen, star. So long, you two. We'll miss ya.

The story of "Godspell" is not one of the Christ's Passion, it's not about the angst among his disciples or the sexual tension he had with Mary Magdalen. It's a positive story focusing on Jesus' teachings and parables, told in a lighthearted way, with some outstanding music and spectacular location photography (particularly in the song "It's All for the Best").

While the hippie-like costuming and the semi-clown makeup seem to outrage some folks, and are admittedly dated today, the movie should be looked at in the context in which it was created. Jesus, in the eyes of those in power during his life, was a radical extremist and a threat to the status quo. He taught lessons of love, empowerment, inclusion, justice--well, you get the idea. Hippie clowns were the logical vehicle to present those lessons at the time "Godspell" hit the big screen.

But when you get past the period set and costume design, and to the basic show, "Godspell" is a wonderful entertainment. First, and most often mentioned by everyone, is the amazing location photography. You have to see it to appreciate it. Next is the music. Although the most commercial song in the show is the repetitive "Day by Day," the one song that most people remember from "Godspell", there are many beautiful melodies. My favourite is "By My Side", the only one with the music NOT written by the composer, Stephen Schwartz. It has beautiful harmonies, and Katie Hanley does a great job on lead vocal. The rest of the songs are nearly as good, and all are quite singable.

And by the way, I'm not a Christian. But if I were, I'd like to be one as portrayed in "Godspell".

You may think you have read the above review before - and yes, it's been on here since 2004, but it's every bit as valid in 2011, and better than anything I could write - especially that last paragraph.

Although I have had the soundtrack to this movie since I was a little girl (and LOVED it), I only just rented it and I was pleasantly surprised at how relevant this supposedly "dated" film still seems. In using real NYC locations, this film wisely eschewed a hokey fantasy-carnival setting that the "vaudeville troupe" feel of the stage play might have suggested (and "The Fantasticks" later went with). I was particularly moved by the use of Bethsaida Fountain (recently used in "Angels in America"), and the visual reference to the Statue of Liberty during the line "you are the light of the world." As a "New York movie," this has got to rank right up there with "Annie Hall" or "Moonstruck." While I don't believe that the historical Jesus skipped and bounced when he was preaching, Victor Garber's Christ continues the tradition that Jesus was both human and divine, the incarnation of Love. It's a very thoughtful, nuanced performance. For me, as a twentysomething, it's very moving to see a representation of Jesus around my age (because, of course, in the Bible Jesus disappears between the ages of 12 and 30). And, for the record, the typing of Jesus as a clown dates to the Medieval mystery plays.

I was most struck by David Haskell's performance as John/Judas. This character both loves Jesus best and questions him the most, and in that, I think, represents the polarities of belief that everyone goes through, no matter their faith. Haskell is the strongest singer in the cast and has a sort of smoldering intensity that would not be expected of a young stage actor. The rest of the ensemble makes up in enthusiasm and vocal verve what they may lack in camera experience. They present the parables of Jesus in a way that is easy to understand but not blasphemous... Jesus says "Rejoice" but he makes no bones about the punishment for sin, either. In sum, "Godspell" is campy and dated, yes, but it's altogether a pleasant piece... in times like these, I daresay we need a smiling Jesus more than we need Mel Gibson's bloody, tortured Christ.

If you're going into "Godspell" looking for another "Jesus

Christ Superstar" -- as I was -- you are bound to be disappointed. While both revel in their 1970s aura, and both

display undeniably hippie tendencies, "Godspell" manages to

convince you it's really about religion, while "JC Superstar"

has a greater tendency to explore the frailties of human beings,

without the piousness of quoting chapter and verse, as

"Godspell" does so overtly. In other words, "Superstar" is great

musical theater, with stirring songs to accompany one of the

world's great dramatic stories. "Godspell" is a bit more like

going to church.

David Greene's take on the musical by Stephen Schwartz starts

well enough. It's an incredible dose of hippie wish fulfillment

as nine troubled New Yorkers, each of whom desires to break out

of the humdrum qualities of workaday existence, are lured away

from their frustrating 9 to 5 tasks to a fountain in Central

Park. Their Pied Piper is John the Baptist (David Haskell), who

appears in full hippie regalia, a briefly flashing illusion to

the nine, tooting his flute in an attempt to call them away. At

the fountain, they rush through the cool water in a symbolic

baptism. Then, appearing from some other place altogether, is

Jesus (Victor Garber), the last to take baptism from John, and

the first to lead them through the city to an old junkyard,

where they dress up like hooligans and paint each other's faces.

It's a nice idea, dropping everything you have to do and

stepping outside proper society to sing and dance with kindred

spirits. But the "plot," as it were, soon becomes tedious, as

the group -- employing all manner of goofy expressions and

cartoon voices -- begin acting out parables from the book of

Matthew, with Garber's Jesus there to correct them at any moment

they threaten to go astray, and with a different familiar New

York City setting as a backdrop for each parable. With the

possible exception of chronological Biblical order, there's

neither rhyme, reason nor logical progression to their skits,

and the viewer soon finds himself looking at the clock and

calculating how much time might be remaining.

The action eventually culminates in a last supper and crucifixion sequence back at the junkyard, with John the Baptist

inexplicably stepping into the role of Judas. This signal that

the credits might soon role is, unfortunately, a welcome one.

However, Schwartz's songs are certainly catchy, and they will

stick with you afterward, most notably "Day by Day," which I'm

told won some awards. While the score does not, I think, rival

"Superstar"'s either, it might come close if it were not in the

service of such unabashedly Christian material. While I don't

know what Schwartz's particular religious agenda was, I'd like

to think he could have inserted more of an arched eyebrow at the

proceedings. If you're talking about John the Baptist, isn't it

more fun to use a line like Andrew Lloyd Webber's from

"Superstar": "Like John was when John did his baptism thing."

But I suppose there are many reactions to Greene's approach,

depending on your own level of religious fervor. Mine just

happens to be pretty low. "Godspell" works on enough levels to

recommend it, but its relentless high-mindedness keeps it from

ever ascending to the heights of "Superstar," to

I saw the stage production of Godspell in Cleveland in the early 70s, and absolutely loved it. Saw it again the following week. That production starred Robert Englund (pre-Freddie Kruger) as John the Baptist (he sings!) I saved my babysitting money and purchased the soundtrack (on tape cassette) and listened to it constantly. When the film version came out I saw it twice too. I recently saw the movie again, and it was nearly unwatchable. What was it about hippie-clown costumes that was so mesmerizing? What was it about broad over-acting and dancing around deserted Manhattan that captured the attention of the hard-earned-money-paying movie audience? What was it about the skinny kid who played Jesus that was so familiar? It took a while, then I realized it was Victor Garber from Alias and Titanic (he sings too?) I realize we were all very young and naive then, but why did we love that infantilized condescending craptastic nonsense so much that the movie industry decided to stick it to film? I tried, really I did, but couldn't watch the whole thing. I realize my innocence is gone, but I require more sophisticated entertainment than that.

"Godspell" (a play on the word 'gospel') lived in the shadows--as an off-Broadway musical, a roadshow production, and as a motion picture--of Andrew Lloyd Webber and Tim Rice's "Jesus Christ Superstar". It doesn't help that the pocket of post-flower power young people who make up the cast are outfitted like happy refugees from a carnival: thrift-shop chic with vaudevillian makeup (it smacks of preciousness, and perhaps an old fogy's idea of being 'alive' and free). It's The Gospel According to Matthew as a Rock Musical (what a come on!), and yet the music isn't rock: it's ersatz folk. The real star of this movie-adaptation is New York City (looking beguilingly nonthreatening); cinematographer Richard Heimann gets some stunning shots of the Big Apple that are (as seen today) both wistful and vulnerable: lonely skyscrapers with only one another for company. The cast has been encouraged to play-up to the camera--to exaggerate, both comedically and dramatically, their actions and responses--so that audiences will respond only to what's in the moment. This may be why the picture barely leaves a trace of itself in the memory. "Day by Day" was the sole hit from the stage show, and no wonder: the rest is a whirling-twirling blur. ** from ****

As I placed "Godspell" into my DVD player, I could feel a certain skepticism in myself that I don't normally get when it comes to movie musicals. Being a Jewish teen watching a musical based on the gospel according to St. Matthew really makes you wonder whether the film is meant for you. Thankfully, I enjoyed it immensely. "Godspell" is some kind of forgotten and underrated musical classic among the more contemporary movies and Broadway shows. It is relaxing, funny, entertaining, and heartfelt.

The film takes place in NYC. Here we are introduced to eight common-folk just trying to make the best of their lives in the world. One is a clumsy waitress, another controls traffic, another is a struggling actress, etc. Then, a mystical being appears, a man by the name of John. Once he blows the shofar, the eight disciples abandon their lifestyle and meet up in Central Park, where John baptizes them in the nearby water fountain in song. That's when another person comes into the picture, a wimpy but outgoing man wearing light circus makeup and a "Superman" t-shirt with an afro by the name of Jesus. He is baptized also by John, who is rather stunned by his appearance. Jesus goes on to teach the eight other people of God's ways and his commandments.

You get the point. Basically, "Godspell" is about Jesus Christ. You've probably seen this many times before. But this movie musical, based on the off-Broadway show, is fresh and original in its ways of storytelling.

Of course, a heavy point of the movie is religion. "Godspell" came out in 1973, the same year as the film adaptation of Andrew Lloyd Webber and Tim Rice's "Jesus Christ Superstar." Why do I prefer "Godspell" to the latter? As beautiful as the music from "Jesus Christ Superstar" is, Norman Jewison directed the film from a Christian standpoint. Therefore, it doesn't work for everyone. Obviously, "Godspell" finds its place among Christian viewers, but it doesn't favor that specific religion. You don't have to be Christian to like it, as you can already tell from when I mentioned I was Jewish. There are even great instances of spoken Hebrew in the film.

Stephen Schwartz, known best for scoring the music for shows such as "Pippin" and "Wicked," makes great music for this film. It is not too difficult for the actors to perform, but it feels like Broadway through and through. Such songs as "God Save The People," "All For The Best," "By My Side," and of course "Day By Day" make their mark here and really stand out among songs from other movie musicals.

The cast is relatively, and sensibly, unknown, but everyone shines here, even if they don't have major Broadway voices. At least three of the film's cast members starred in the original stage production, and do very well adapting to film. But many of you will recognize a young Victor Garber as Jesus. With a string of performances in his Broadway repertoire("Sweeney Todd," and "Assassins" came later in his career), this was Garber's big break in the film business, and does an amazing job here. He has a great enthusiasm and love for the role, and provides the character with the wisdom and importance he deserves, as well as a great singing voice.

In the end, "Godspell" is a fun and lovable musical with positive morals, a good cast, great songs, and an ending that erupts with intense rock and roll beauty and emotion. The older moviegoers who have known the show since they were young will probably enjoy the movie version as well, but it deserves more appreciation from the teenage theatre buffs who are raised on the newer form of musicals. Thank God for "Godspell!"

Alongside 'Jesus Christ Superstar', released in the same year, 'Godspell' presents a 1970s take on the scriptures, with modern looking actors, rock songs, and 'hip talk'. Originally a stage production (which I've seen, and liked very much), this film opens out the action a bit but keeps the theatrical feel.

'Godspell' has some excellent songs, especially Day By Day, By My Side, and Turn Back O Man - the bits in between haven't dated that well, but some things do work, such as John/Judas being played by the same actor, and the ending sequences remain powerful.

A small but talented cast led by Victor Garber (many years before he turned up in the remake of Annie) sing, dance, and frolic their way through the tale of Jesus from the Baptism to the Last Supper. Their innocence and devotion is infectious and wonderful to watch.

How does it compare with 'Superstar'? That has more emotion and more depth to the songs, but each are valid and each are, in their own way, reverent to the Gospels. I've spent 25 years with 'Superstar' but this film version of 'Godspell' is a fascinating new addition to the rock opera genre for me.

Stephen Schwartz' music, especially the song "Day By Day", is excellent. Otherwise, this movie is really, Really, REally, REAlly, Really, REALLy, REALLY awful. Why does it exist? Well, it looks like it might have been an entertaining stage musical… and the Christian/Hippie seemed angle seems natural enough… so, the filmmakers added the expanded NYC locations and sets… and, they thought that, you know, it has a style… albeit unsuccessful. It's interesting to see the "World Trade Center" buildings. The "All for the Best" dance around the streets, and skyscrapers, is visually clever, and well performed by Victor Garber and David Haskell. More often than not, though, the film looks exuberantly ludicrous.

** Godspell (3/21/73) David Greene ~ Victor Garber, David Haskell, Lynne Thigpen