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Jesucristo Superstar Jesucristo Superstar (JESUS CHRIST SUPERSTAR) EL MUSICAL I I Nº350 (FEBRERO 2011) SINOPSIS Jesucristo Superstar es una revolucionaria propuesta ambientada en la actualidad sobre los siete últimos días de la vida de Jesús en Jerusalén. La traición de Judas, la última cena, el amor de María Magdalena hacia Jesús y la crucifixión, articulan una historia a ritmo de rock que nos re- vela la fuerza del ser humano, la juventud de la rebeldía, la irreverencia más estimulante y el optimismo y esperanza que llenan cualquier vida. FICHA ARTÍSTICA Jesucristo ...................................................................... TED NEELEY Judas Iscariote ........................................................ CARL ANDERSON María Magdalena ...................................................YVONNE ELLIMAN Poncio Pilatos ............................................................BARRY DENNEN Caifás ......................................................................... BOB BINGHAM Simón ....................................................................LARRY MARSHALL Rey Herodes ...........................................................JOSHUA MOSTEL Anás ........................................................................ KURT YAGHJIAN Pedro .......................................................................... PAUL THOMAS FICHA TÉCNICA Año de Producción ............ 1973 Dirección .... NORMAN JEWISON Fotografía ...DOUGLAS SLOCOMBE Duración ..................... 112 min. Productora ............... UNIVERSAL Montaje ............ ANTONY GIBBS Nacionalidad .....Estados Unidos Producción ...NORMAN JEWISON Música ...ANDREW LLOYD WEBBER Género ...........................Musical ..................ROBERT STIGWOOD D. Artística ...........JOHN CLARK Color ........................ Technicolor Guión... M. BRAGG, N. JEWISON Vestuario ......... YVONNE BLAKE (Basado en la obra de T. RICE y A. WEBBER) Sonido .................KEITH GRANT EL DIRECTOR: NORMAN JEWISON Nacido en Toronto (Canadá) el 21 de julio de 1926, realiza estudios de piano y solfeo durante su juventud. Tras combatir en la II Guerra Mundial en la Ar- mada canadiense, finaliza sus estudios en la Universidad de Toronto al tiempo que inicia su carrera como actor de radio, hasta que en 1952 se introduce en el mundo de la televisión. Su trabajo llama la atención de la cadena CBS y seis años después se traslada a Nueva York, donde se especializa en la direc- ción de programas musicales y gana varios premios Emmy. A principios de la década de los 60 es contratado por los estudios Universal, debutando como director de cine con Soltero en Apuros (1963) y consiguendo su primer éxito con El Calor de la Noche (1967) por la que obtiene su primera nominación al Oscar al Mejor Director. En los años siguientes realiza los musicales de éxito El Violinista del Tejado (1971) y Jesucristo Superstar (1973), además de dirigir la trilogía de denuncia formada por Rollerball (1975), F.I.S.T. (1978) y Justi- cia para Todos (1979), sobre las irregularidades de la justicia norteamericana. Tras el fracaso de varios de sus films posteriores, orienta su carrera hacia tra- bajos cada vez más comerciales como Agnes de Dios (1985), Hechizo de Luna (1987), Huracán Carter (1999) o La Sentencia (2003) entre otras. En 1999 reci- bió el premio Irving G. Thalberg de la Academia en reconocimiento a su carrera. FILMOGRFÍA PRINCIPAL DEL DIRECTOR GALARDONES 1963 Soltero en Apuros 1979 Justicia para Todos (Forty Pounds of Trouble) (...And the Justice for All) 1963 Su Pequeña Aventura 1982 Amigos muy Íntimos PREMIOS (The Thrill of Il All) (Best Friends) BAFTA 1966 ¡Qué Viene los Rusos! 1984 Historia de un Soldado 1974 (The Russians Are Coming!) (A Soldier’s Story) (27ª Ed.) 1967 El Calor de la Noche 1985 Agnes de Dios (In the Heat of the Night) (Agnes of God) 1968 El Caso de Thomas Crown 1987 Hechizo de Luna (The Thomas Crown Affair) (Moonstruck) Mejor Banda Sonora 1969 Los Locos Años de Chicago 1994 Sólo Tú (Les Wiggins, Keith Grant (Gaily, Gaily) (Only You) y Gordon K. McCallum) 1971 El Violinista en el Tejado 1995 Bogus (The Fiddler on the Roof) (Bogus) 1973 Jesucristo Superstar 1999 Huracán Carter (Jesus Christ Superstar) (The Hurricane) 1975 Rollerball 2001 Dinner with Friends (Rollerball) (Dinner with Friends) 1978 F.I.S.T., Símbolo de Fuerza 2003 La Sentencia (F.I.S.T.) (The Statement) COMENTARIO Prácticamente, todo el mundo conoce la histo- na. Tanto es así, que el pasaje de la resurrección fueran suplentes del papel. Inicialmente, el ria de Jesús de Nazaret. Quien no la ha estu- es totalmente obviado del relato. Podemos ver papel de Jesucristo iba a ser para Ian Gillan, diado como parte de su propio dogma religioso, a un Jesús inocente, preocupado únicamente vocalista de Deep Purple, pero éste rechazó el al menos ha oído hablar de ella. Sin embargo, en difundir sus palabras sin preocuparse por el papel en detrimento de una gira con el grupo. esta historia tan trascendental para una gran entorno político-social en el que se encuentra. parte de la humanidad no había sido vista por Esto precisamente resulta ser el principal punto Hablando de los actores, son éstos mismos los otros ojos que por aquellos que se considera- de conflictividad entre Jesús y Judas. También protagonistas de la película. Si el largometraje ban sus guardianes y difundidores exclusivos. vemos a un Jesús atormentado por el inminente se analiza desde un punto de vista estrictamen- No es hasta el siglo XX que aparecen nuevas futuro que se abalanza sobre él y por su funesto te narrativo, la película en sí no cuenta la his- formas de ver y de relatar esta historia, aparte desenlace. Un Jesús enfadado con su padre por toria de Jesucristo. En realidad, ésta cuenta la de cómo es contada en el Nuevo Testamento. haberle dejado a su suerte y decepcionado por historia de un grupo de actores, que por cierto Una de las versiones más destacables sobre sus seguidores, quienes lo traicionaron por una se encuentran viviendo plenamente el espíritu el relato de la vida de Cristo, con permiso de parte, y quienes fallaron a la hora de interpretar de la Era de Acuario, viajando apretados en un J.J. Benítez, es aquella que crearon Tim Rice y difundir su mensaje tal y como él deseaba. autobús, hacia unas ruinas en un desierto de y un joven Andrew Lloyd Webber, compositor Israel para hacer una representación al aire de musicales como Cats (1981), o Evita (1976), Con respecto a otros personajes, se deben des- libre de la obra teatral Jesucristo Superstar. y quien tenía veintidós años cuando creo la tacar a Judas Iscariote y a María Magdalena. Uno no puede más que intuir que el director música para Jesucristo Superstar, el cual fue Vemos a un Judas torturado por su lucha in- quiso prevenir la controversia que este filme primero un álbum conceptual, y que pasó a ser terior entre los sentimientos que le empujan a iba a suponer en los entornos religiosos e hizo más adelante una musical en formato teatral. adorar a Jesús, y aquellos sentimientos con- uso de este recurso narrativo para suavizar el trapuestos que le hacen sentirse decepcionado mensaje de la película. Siguiendo este deseo Esta obra pone de relieve las diferencias polí- por el rumbo que está tomando su figura y que subyacente de aceptación por parte del público ticas e interpersonales entre Jesús de Nazaret finalmente le empujarán a traicionarle equivo- religioso, algunas letras de las canciones fue- y Judas Iscarote durante la última semana de cadamente, y a su posterior suicidio por remor- ron cambiadas con respecto a los originales vida del Mesías. Basada en el Evangelio según dimiento. La aparición de María Magdalena, del teatro, por un lado para enriquecerlas -Ho- San Juan, la historia es narrada por Judas en aunque breve, es también digna de mención. La sanna, El Templo…-, por otro lado para hacer- primera persona, cubriendo los acontecimientos versión de este personaje en esta obra es más las más aceptables para el público cristiano. que van desde Betania, el Jueves anterior a la pura y justa que la de otras versiones del relato. entrada de Jesús en Jerusalem, hasta la escena Se podría decir que este gesto recibió su re- de la crucifixión en el Gólgota. Aparte del punto Y dejando la obra original a un lado, centrémo- compensa de los cielos. Durante el rodaje de de vista de quien cuenta la historia, también es nos ahora en la adaptación a la gran pantalla la escena final con la cruz donde fue Jesu- importante destacar que en esta versión se les de este trasgresor clásico de Broadway. Duran- cristo crucificado en frente de una puesta de dota a los personajes de un conocimiento sobre te el rodaje de El Violinista en el Tejado (1971) sol, de repente aparece una sutil figura cru- el futuro inminente que se cierne sobre Jesucris- a Norman Jewison le sugirieron rodar la adap- zando el plano. Ésta no es más que un pas- to. Este último concepto se revela de forma sutil tación cinematográfica de la obra de Andrew tor que apareció por accidente delante de la entre las líneas de las letras de las canciones Lloyd Webber. Después de escuchar el álbum, cámara durante la única toma que se iba a que componen la obra. Algo mucho más llama- no tuvo dudas en hacerlo. Ésta fue principal- realizar de esta escena. Teniendo en cuenta tivo es la caracterización que de Jesús se hace, mente rodada en Israel, y otros lugares del la simbología del pastor en la historia de Je- la cual es diametralmente diferente a la realiza- Oriente Medio. Sin embargo, no se pudo rodar sucristo, el director decidió seguir con la toma, da en
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