This is for me! since no one else cares about this music

Having spent almost all of winter break obsessing over this concept album/musical/movie, I am writing a review comparison of the 1973 vs. 2000 productions of Jesus Christ Superstar. I gotta get this out of my head or I'm going to watch endless clips of Jerome Pradon, not good definitely not good. The following will mainly focus on the movies, though I'll throw in a few thoughts about the original concept album just for kicks.

My overarching feel/vibe from the movies
The 1973 version directed by Norman Jewison has a very spacious feel while the 2000 version has a sort of claustrophobia to it. They both have their merits and flaws, and to my horror I've found I've become obsessed. The 1973 version occasionally doesn't flow as well between songs as does the 2000. It is cool that the 1973 is filmed on location in Israel, although looking at that huge desert makes me feel so hot. Urgh! The costumes for the 1973 have quite a cool vibe, combining Biblical-style wear with hippie bell bottoms and bangles and stuff. I really love Caiaphus' and Annas' hats!!! The 2000 costuming is very... "cute," what with all the leather and so forth. But at times it looks like a massive gaybar... all those buckles and capes and knee high leather boots and whips... ahem.
I'm not sure if this is good or bad, but the 2000 version is very homoerotic. I feel kind of dirty for seeing it in this context, but just watch it and you'll see! It's not just me being ridiculous. And whatever, this musical is supposed to be a humanization/artistic interpretation anyway, and the 2000 is Gale Edward's doing. Not the Bible. So I'll enjoy it as that. And I do... enjoy it. heh. heh.
The all-indoor set work sometimes and sometimes not for the 2000 version, but you have to remember! The poor 2000 version was just a made-for-tv movie, while the 1973 was a major motion picture. I'd say the 2000 version is great fun all the same.

A direct comparison of characters
Jesus
Played by Ted Neeley in 1973 and Glenn Carter in 2000. First of all, I must say that I hate Glenn Carter's face. He always has such an insufferable expression... probably because of his oddly thin lips. And his gross hair-metal hair. Ted Neeley looks pretty good in the movie, and his voice is definitely excellent. It has a weird twang to it, actually, probably because he used to be a Texas rocker or something. It takes some getting used to. Glenn Carter has a very boring voice, nothing remarkably offensive about it, but it isn't great either. Also, to be more shallow, Glenn has a mushy body. In "Heaven on Their Minds," when Judas grabs his arm, you can see his meat just go muuush beneath his fingers! Ted Neeley's body is very lean and cut, much more pleasant to look at. But that part's really not that important. Glenn Carter's acting is pretty lame at times. Overall, I like Ted's look a lot more. But vocally, I prefer the concept album Jesus (Ian Gillan).
Gethsemane 1973
Gethsemane 2000

Judas
I should confess straight up that I've developed a fancy for Jérôme Pradon (the 2000), as in, a fangirl-ish fancy, which is strange considering he is sort of balding. Well, I love all the versions of Judas! Murray Head from the original concept album is really amazing vocally. Carl Anderson (1973) is probably technically a better singer than Pradon, at least for this role, but his acting isn't too great. I swear, he does this very distinctive pointing motion in every song he's in! It's a very odd point, kind of like the "Objection!" from Phoenix Wright. And he likes to kind of hunch over and throw his arms backward as he sings, making me think of a running ninja in Naruto. But there are some very good scenes with him as well, at least, when he's not pointing or doing the weird crouch. Carl Anderson has a very solid voice; his range is just right for Judas and he sings an incredibly difficult part seemingly very easily. Jerome Pradon, however, is a slightly different story. He is actually not a tenor, so for a lot of songs he is a bit strained vocally. But this gives off a really endearing sort of nasal twang. It's a very distinctive singing style, you either love it or hate it. I heavily fall into the former category. I don't know that much about singing technical stuff, but whatever! Musicals should appeal to the common folk, and Jerome certainly appeals to me!! Also, I find Carl Anderson's red top + red bell bottom costume atrocious, while Jerome's leather jacket is pleasing to my eye. Jerome's slight French accent shows through at times when he's really screaming in the emotional parts, another endearment to a ridiculous teenage girl like me! Aaah, this is kind of embarrassing. Overall, Carl Anderson is more of a roarer while Jerome is more of a whiner. Carl gives off wronged justice vibes while Jerome gives off spurned boyfriend vibes.
Heaven on Their Minds 1973
Heaven on Their Minds 2000

Mary Magdalene
Yvonne Elliman plays Mary in the 1973 and the original concept album and Renee Castle in the 2000. Yvonne Elliman is a beautiful singer, but sadly, she is not very photogenic... not very photogenic at all, I fear. Or maybe it's just in the movie, since she doesn't look so weird in other photos. It may be a makeup-crew disaster. Well, her voice is the best anyway. Renee Castle is pretty cute and an ok singer, but not as good as Elliman. Also, in the movie she is a leeetle too touchy-feely with Jesus. And by leeeetle, I mean way too much. Cling, cling, cling, though I guess that's more the director's fault than the actress's.
I Don't Know How to Love Him 1973
I Don't Know How to Love Him 2000

Caiaphas
Nn, the Caiaphas in the 2000 (Frederick B . Owens) is not very good. I think perhaps the part was below his range, since he was really growly and had a bit of trouble hitting the notes. His look was ok though, he had the big buff manly low voice thing going on. If only he was a better singer... Bob Bingham in the 1973 version was in the range, but his voice has a flatness to it. Maybe it's just the old sound recording technology showing through. Overall, I prefer Victor Brox from the album. None of the Caiaphas's are that remarkable, actually. Mahh...

Annas
Michael Shaeffer (2000) blows the other Annas's out of the water, hands down. He is a very tenor tenor, so much so that is is frightening. He is totally bald and pale, and actually looks pretty scary in black leather. Kurt Yaghjian from 1973 is kind of awful because he tries to put on a comical falsetto which falls flat on its face more often than not. The album Caiaphas is ok, but a bit inconsistent with the falsetto. But man, Shaeffer has an amazingly weird voice.
Caiaphas and Annas pretty much share all their songs, so they get to share links too.
This Jesus Must Die 1973
This Jesus Must Die 2000

Simon Zealotes
Tony Vincent (2000), in the words of a rarely-seen coherent YouTube comment, "does a great job of acting like a crazed fanboy." He has a Backstreet Boys look, but it totally works for him, especially because he gets to wave around an AK47 in his song and because he's a very good singer. But ugh! I heard he got the role for Judas for the Broadway tour. I can't imagine this guy as Judas! Wrong image!! Anyway, Larry Marshall from the 1973 isn't bad either. He has a really strange look. I think my judgement of him is worse because the Simon Zealotes scene in that version was insufferably lame/dated, but I'll save my song-by-song analysis for later... I actually don't like the singer from the album for once! John Gustafson just doesn't work for me, he sounds too bored or something.

Pontius Pilate
Ugh! Pilate (Fred Johanson) 2000 terrifies me for some reason, and not in the right way. He's uncomfortably big and buff, and every scene he is in is gayed up so, so much. Not that there's anything wrong with some gay, but this guy is just way overboard and it doesn't fit the character. tooooo much mascara is scary on a buff dude with a whip, by the way. He has a way of prancing about in his leather and swishy black cloak, you see, that is kind of unfortunate. And his acting is rather off-character. He's too mushy and emotional. Pilate should be more cool. Barry Dennen, who's Pilate in the 1973 movie and the album, is much much much better. He has a refinement to his singing and acting which Johanson sadly lacks. The emotion is laid in just the right amount and tone, really perfect!
I keep saying Pilates (Pi-lah-teez) Dream instead of Pilate's (Pai-lat)! It's driving me nuts! Pilates is the exercise, Pilate is the judge! arrrgh
Pilate's Dream 1973
Pilate's Dream 2000

Peter
Considering Peter only has one song to himself, I don't have that much to say about him. I prefer the 2000 one (Cavin Cornwall) because he gets to lunge at the Pharisees with a knife and lamely trips. The 1973 one is Philip Toubus, who actually became a porn star after the movie. Strange... his beard is scary in the movie anyway. Paul Davis in the album is pretty forgetable.
Peter's Denial 1973
Peter's Denial 2000

King Herod
Rik Mayall (2000) is a good actor probably, but a horrendous singer!!! Half the time he's just speaking! And while I do condone occasional speaking in singing for effect, he does it too much so that you can tell he's just faking because he can't sing for crap. Urgh. Josh Mostel (1973) has the most hilarious image... you have to see the video for I have no words to describe. He makes it work, though! His singing is quite good though, only just surpassed in my mind by the album Mike d'Abo. Well, I don't know about that, even, it's just one line that I prefer from the album. They're about par.
King Herod's Song 1973
King Herod's Song 2000

That wraps it up for the important characters! When I'm seized by the mood I shall do a song-by-song analysis. This is pretty fun, looking at different interpretations of the same music.

You can and should watch either version of Jesus Christ Superstar by YouTube!
Song order is as follows

1. "Overture" – 3:56
2. "Heaven on Their Minds" – 4:21
3. "What's the Buzz/Strange Thing Mystifying" – 4:13
4. "Everything's Alright" – 5:14
5. "This Jesus Must Die" – 3:33
6. "Hosanna" – 2:08
7. "Simon Zealotes/Poor Jerusalem" – 4:47
8. "Pilate's Dream" – 1:26
9. "The Temple" – 4:40
10. "Everything's Alright (reprise)" – 0:30
11. "I Don't Know How to Love Him" – 4:07
12. "Damned for All Time/Blood Money" – 5:07
13. "The Last Supper" – 7:06
14. "Gethsemane (I Only Want to Say)" – 5:32
15. "The Arrest" – 3:20
16. "Peter's Denial" – 1:27
17. "Pilate and Christ" – 2:43
18. "King Herod's Song (Try it and See)" – 3:00
19. 19."Judas' Death" – 4:14
20. "Trial Before Pilate (Including the 39 Lashes)" – 5:12
21. "Superstar" – 4:15
22. "Crucifixion" – 4:01
23. "John Nineteen: Forty-One"^[1] – 2:04