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Recently, I purchased the 2000 version of Jesus Christ Superstar (hereafter reffered to as JCS), the critically acclaimed rock opera by Andrew Lloyd Webber and Tim Rice. Unlike the 1973 version of JCS, this version is straight from the stage. It is an updated version of the work-no more bell-bottoms and hippies. Although this version of JCS keeps the classic rock opera timeless for new generations, I found myself missing some of the campy '70's stuff; I always found the paralleles between the revolution in the '70's and the revolution of Christ to be an amazingly accurate metaphor. However, after close examination of this new version, I have come to the conclusion that the 2000 film is, indeed, much more powerful and accurate than the campy 1973 film.

The first change that becomes apparent in the 2000 version of JCS is the focus on the triangle relationship of Jesus, Judas, and Mary Magdalene. Before the extremists start shouting, I must point out that this triangle relationship is by no way sexual, only spiritual. It is an interestin mix: both Judas and Mary love Jesus more than anything. Mary, however, does not seem to be concerned with "the big picture;" she is only concentrating on Jesus' well-being and the well-being of his followers. Judas, however, is able to step outside of this microcosm and see the reality of the real world: the danger of a violent revolution, the increasing tensions of the Romans and the Jewish, and the overbearing sense of death the Jesus seems to present so often in his weary actions. This triangle view allows the viewer to understand Judas in a new light: he is not an evil man, trying to kill Jesus for his own reasons. He is, instead, only Christ's greatest admirer; he truly believes that his betrayal of Jesus is necessary in order to preserve all that he has worked for. When Judas proclaims he "acted for our good," he is not talking about the good of the his country, but the good of Jesus and his disciple's plans. This is why he is driven to madness: he finally realizes what he has done by betraying the man he loves most.

The other major change in the 2000 film of JCS is the presentation of the famous "Superstar" number itself. This song occurs at the end of the work; Jesus is carrying his own cross to the crucifiction site. Judas, in an ironic bit of foreshadowing, seemingly re-appears from the grave to ask Jesus one more question: Who Are You? In the 1973 version, Judas is dressed all in white, and he is surrounded by "angels" that are also similarily attired. This implies that Judas has gone into Heaven; the song presents Judas' confusion: why he go to Heaven after betraying Jesus? Should he not go to hell? He is simply confused about Jesus; he asks again and again, in sincere earnesty, "who are you?" Alas, in the 1973 film, Judas never understands the part of God's play that he has acted. In the new 2000 JCS, the song is presented almost completely different. Judas returns all in black, surrounded by devilish woman dressed in the most sinful clothes available: hues of red and black, fire and darkness, are always present. Perception is reality: Judas believed that he was "damned for all time," and thus he goes straight to the fires of hell. The song is no longer confusion, but intense mockery: Judas mocks Jesus for his self-destruciton. Why are you so important, he asks. Judas' words make Jesus to be a fool: a person that believes he is more than he really is. However, during the number, there are precious seconds when Judas drops his mocking tone and truly cries; he cries out in pain and agony for Jesus' and his own troubled soul. At the end of the song, just as the nails are being pounded into Christ's hands, Judas hisses and reels back in pain, as if an evil serpant has been killed within his body. Judas suffers more than any of the other disciples during the crucifiction. When "It is finished," the closing image is the triangle of Mary, Jesus, and the renewed Judas. Judas has finally come to the realization of his actions; he finally understands why this must be so. This new Judas will ascend to Heaven; finally, he sees Jesus as what he really is. This presents an ironic paradox: in the apostle's creed, Jesus first decends to hell, then rises to Heaven. This parallels the Judas of this film: both men are the same; both of their sacrifices were necessary to save the human race from its own tranny.

Clearly, both versions of the Rock opera present valid ideas and interpretations of the story presented ever so briefly in The Bible. Both interpretations have their merits, but the 2000 version is the interpretation that I feel most reflects upon the actions of God. Man will never completely understand his creator, but he can still learn of his good.