Film paintings photos

“i will drink your cup of poison” (Ted Neeley at 64, “Jesus Christ Superstar”, Rice & Webber)

Video used here for review purposes under the promotional terms of use of the clip, uploaded in youtube by WJvanEden The original rock singer and actor who played Jesus Christ in the Rice-and-Webber musicale “Jesus Christ Superstar” in 1973 has been reprising the role on Broadway for decades, year after year. Here he is, Ted Neeley at 64 years old (shot four years ago), in the Gethsemane scene, his voice deeper and raspier, singing onstage through a wireless tiny headset microphone and blowing the crowd away, unequalled by the company half- his- age that he keeps,

his fellow actors welling in tears as they watch his aria… “…if there is a way…..take this cup away from me…”

Film paintings photos

“Everything’s Alright”, Rice and Webber, 1973

In keeping with: giving- a- spot- to- “undiscovered”- musical- talents — here is an amateur video of a cover of the Rice-and-Weber “Everything’s Alright” from the musicale “Jesus Christ Superstar” (1973) original rendered by Yvonne Elliman; this video from chuckvo61, name of talent not published.

Film paintings photos

largely natural light (“Sermon on the Mount” scene, Franco Zeffirelli)

A 3-minute snippet from the nine-hour film “Jesus of Nazareth” of Franco Zeffirelli, excerpted here for review purposes.

(background photo here: original, unretouched shot by Myra Lambino-Ramos)

My tiny, amateur review of just one aspect of this scene, sermon on the mount in “Jesus of Nazareth” (Zeffirelli, 1977).

Here, apparently, the filmmaker used largely natural light. It wasn’t very sunny and looked like it was shot early morning or late afternoon of that day, a balmy one; the sky, almost colorless.

a james-cameron-today would have retouched all of it with a computer-generated sky, playing with a splash of pinks, yellows, oranges.

But even if the technology were available at that time, i don’t think the filmmaker would have messed around with the colors that much – because he did not want to distract. The scene plays on the expressions on the faces of the characters, softly panned by the camera, to drive home the point, rather than trying to dazzle with a kaleidoscope of hues or of fantastic shots of boulders and cliffs.

In my opinion, the best-lit sermon-on-the-mount scene.

Very lean, very minimalist, very gentle – and therefore, all-powerful.