1)
Overture 2000 and 1973
The 1973 overture has the coolest little framing device going on. The actors are on a bus going to the location in Israel to film... so it's a meta-thing. This framing device gives us enough substance to not be bored during the overture. I love how frantic all the actors are, and it's so surreal to see a cross prop tied to the top of a bus. And there's cool subtle little hints of the movie to come, like when Judas almost gets squashed by something and looks all depressed. We get to see all the actors getting dressed, and even a Roman soldier practice his whipping. And Pilate's little cloak whirl is just hilarious, especially because it matches the "crucify him!" little violin whirls. Also of note is how Judas runs away to his location much earlier than all the other actors. It's the subtle little things like this that make this movie so great. And the little butt wiggle during the other violin whirl always makes me laugh. The orchestration is a lot more old-school here, lots of lovely strings and a more acoustic feel. Too bad the sound quality isn't that good, but nothing to do about that...
For me, the 2000 visual is too campy. The graffiti is too 'cute.' And it gets boring staring at the nameless apostles standing around the ugly graffiti. Good points are the
The instrumentation is excellent; it has a grittier, more modern feel than the original orchestration. More electric, less orchestra. Both work very well in their separate contexts.
The winner of this round has to be the 1973, though. The framing device is a very cool meta after all.
2)
Heaven On Their Minds 1973
Heaven On Their Minds 2000
Like I think I said in my first post about JCSS, there's a lot of distance established in the 1973 movie. Judas from the start is estranged from the rest of the group by virture of dancing around in the rocks far above everyone else. It's definitely a more subtle take. I like how Jesus is the center of attention far below while Judas is skulking about on the rocks. But oh God! Carl Anderson needs to stop doing his pointing thing. Other than that, he's incredible! I like the slight growl that comes into his voice on some parts. And I like the little "He won't listen to me aaah! come on, listen to me, listen to me," improv stuff that he puts in at the end; the other versions don't have this line. It feels like he is shouting his despair from the mountaintops or something.
The 2000 version, on the other hand, is all about the touchy-touchy! Judas (Jerome Pradon) is practically shouting in Jesus' face,
Gosh, it's hard to say which one I like more. But I have this thing for Pradon, actually, so I like the 2000 more. Most people, however, seem to prefer Carl. Whatever, they're both really good and this is one of my favorite songs from the musical.
3)
What's the Buzz/Strange Thing Mystifying 1973
What's the Buzz/Strange Thing Mystifying 2000
Ah, the 1973 Simon is so fun to watch because his hair bobbles about when he bobbles, which is a lot. Ted Neeley is a lot more assertive than Glenn Carter as Jesus. Also, I like how the light is focused on Jesus while the apostles are in darker light. I can learn a lot about shooting movies from doing this, hm... Also, Mary's annointing with ointment doesn't look too inappropriate here.
And man, I like what they did with the lighting on Judas, with the light coming from behind him and leaving his face in shadow. But argh! Carl's acting is kind of lame; he does little hand gestures that match each phrase, kind of like in elementary school. And the part that ruins this song for me in the 1973 is when Ted Neeley goes, Who aahhr yyeeew in je ne sais quoi, Texas accent or something. It sound so weird! The weirdness is accentuated because he is speaking that line rather than singing it. I just can't get used to it.
The pitch for the 2000 versions always seems a hair lower than the 73. Perhaps it's a recording thing, or just a rearrangement and I'm stupid. Anyway, the apostles keep... touching each other. It makes me laugh when they all stroke this bald guy's head... anyway, I like how this is not in a dark little cave so it's easier on my eyes. I like how Judas is smarmier in here too, rolling his eyes when the apostles are "buzzing" around. But man, Mary is a lot more touchy with Jesus here. And Glenn Carter looks like he's enjoying it a leeeetle too much. Renee Castle is a lot easier on the eyes than Yvonne Elliman, though! But oh, the slashiness... once Judas sees Jesus' head in Mary's lap, you can practically see the smoke rising from his head. I love how he sings amuuuuses. I think the part where he throws her down the stairs is overkill though. This is one of the few songs I think Glenn sings better than Ted. No weird "who ahhr yeeew." So much combat here, though! Peter is so violent, pinning Judas to the wall. Oh, and when Jesus goes "Not one, not one of you (cares if I come or go)" he grabs Judas and gives him a very smoldering look. Damnit, this is why I love/hate this version so much! The slash... aaaargh, not sure if want but actually do want. What am I even saying?
Bottom line, I like the 2000 version more for this one.
4)
Everything's Alright 1973
Everything's Alright 2000
Hmm, the 1973 is a lot higher and bouncy than the 2000. Not really a plus or a minus, just an observation. The lighting is pretty interesting here too; it's all in candlelight. Heehee, Carl goes "Hey hey hey, woman," a fun little addition. I do like the way Yvonne Elliman's mouth opens when she goes to Judas "Try not to get WORried," it looks like a muppet. I mean that in a good way. But oh my! There's slashiness even in here! A very intense stare and arm to shoulder touch grab thing. And the way their hands slowwwwwly slide over each other. But in this version you could still see it as bro-love, while in the 2000... well. And Oh my God Ted Neeley becomes a wax sculpture or something at the end. Not literally, but his face becomes so weird looking and unfocused. It might actually work with the effect, though, since it's all about close your eyes, close your eyes... The hand up, hand down thing is kind of annoying though.
Mm, the 2000 version flows a lot more intuitively from the previous scene. The song is a lot slower, actually, more lullaby-ish. But that Mary is soooo touchy. But it's really fun to see Pradon's very upset expression. Oh my if I'm not careful all reviews for the 2000 version songs with Pradon in them will turn into fangirlisms, which is not what I want. But anyway, it does very successfully build up the er... tension in this
I'm on the fence as for which one I like more here, if I surpress my irrational liking for Pradon. The wax-face Ted Neeley is pretty amazing, but I love the slashiness in the 2000. Well, what the hell! I can't make every song a victory or loss. The two versions are different, after all, not necessarily better or worse. But it's still fun to compare them.
Well, that's it for today. I will amuse myself further with this tomorrow.
No comments:
Post a Comment