CENTRO ANTI-BLASFEMIA
IL VATICANO E LA CHIESA CATTOLICA APPROVARONO IL FILM SUPERBLASFEMO JESUS CHRIST SUPERSTAR DALL'INIZIO
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Ecco un articolo della rivista JESUS dei Paolini del 3 giugno 2010:
CULTURA - CARL ANDERSON
San Giuda Superstar
di Enzo Romeo
Fu l’indimenticabile co-starred in Jesus Christ Superstar. Carl Anderson, African-American from Virginia, was Judas. That with Ted Neeley-Jesus established the SET deep friendship, which lasted until his death in 2004 due to leukemia.
Jesus and Judas friends forever. Even after the betrayal and crucifixion. It is not an apocryphal gospel, is the true story of two men, two singers and actors. Ted Neeley, or Jesus, a white Texan, and Carl Anderson, Judas ie, African American from Virginia. Magnificent protagonists of Jesus Christ Superstar, the film directed by Norman Jewison in 1972 and based rock opera by Tim Rice and Andrew Lloyd Webber.
Carl is gone in February 2004. The doctors diagnosed with leukemia while he was on tour in American theaters with yet another version of Superstar. Ted still difficult to accept it, feels it has lost a brother. When I can not remember the tears: "I miss you, Carl," he whispers looking into the void. Then said the last time I saw him in the role of Judas: "It happened in July, seven months before his death, in Philadelphia. Carl was wonderful, vibrant as ever. He had further improved. Now he had entered fully into the character, he had fully understood the torment. " Ted at his funeral sang I Only Want To Say, the song of Gethsemane. "I felt the same emotion as when I sang in the movie" she says as she wipes her eyes moist.
Carl Anderson in a scene from Jesus Christ Superstar.
Jesus Christ Superstar "changed their lives radically. Ted was 28, Carl 26. Frequented the temples of the musical. Ted, in fact, had made the first test for the role of Judas in the stage version of Superstar, but the writing in the choir, while in Los Angeles did not realize that was the ideal person to play Jesus was the replacement for Carl Ben Vereen, actor and dancer of color much more famous than he, called to the role of Judas in Superstar on Broadway. But Ben got sick, and so it fell to Carl to perform.
Jewison summoned them to London. He wanted to see them together before writing. They made air travel side by side preparing mentally decisive encounter with the director. Carl was a problem in most, was a black boy. What would people say? A black Judas seemed to be a provocation? Norman Jewison recalls: "I was very concerned about the role of Carl, and so was he. We did not want the film to be criticized in terms of race. Carl said: "Why did you choose?". I replied: "I chose you for your talent, not your color." He said, "Then I accept". " Almost without realizing it
Ted and Carl were catapulted into Israel, the places of the Bible. At Beersheba in the Negev desert, between the ruins of the fortress of Herod the shores of the Dead Sea near Qumran, at Caesarea, in the midst of the ruins of the ancient Roman port. "It was an extraordinary experience," says Neeley. "To shoot the opening scene, with the cast arrives in the desert, Norman borrowed the rock of my bus tour. Carl Anderson was with a cap that says Thedis, which meant more or less the opposite of ". He had the most amazing voice in the world. " Ted admits: "Carl was the number one. In the film, Judah is holding together the whole story and binds each character. What we do look at from his point of view, with his eyes. Judah considers Jesus - precisely - a superstar and so she gets caught by the problems in the worldly success, forgetting the true message. "
The director claims that during filming the cast live as possible divided into clans, just as in the history of film. There was a group of Jude, apostles, that of the priests ... During breaks a group challenged each other in heated game of volleyball. Yet there was perfect agreement between all actors and crew. Neeley met there the woman who would become his wife, Leeyan Granger. "It was one of the dancers in the group of Judah, so it was difficult to dating. We started going out only when it was over. Norman Jewison did not allow me to get too intimate with someone del set, ero un sorvegliato speciale. E in più Leeyan faceva parte della fazione di Giuda».
La salita al Monte Calvario (UNIVERSAL PICTURES).
Sul set, nel deserto, c’era un caldo formidabile: quando il sole era a picco la temperatura sfiorava i 50 gradi. Quei giovani recitavano e ballavano con incredibile energia nella polvere del Negev senza disdegnare a volte l’ausilio di qualche droga. Era una dimensione hippy, giovanilistica, ma non superficiale. Alla fine tutti restarono segnati da un’esperienza che aveva costretto ciascuno di loro a scendere nelle profondità della propria anima. Ricorda Jewison: «Il cast era un miscuglio di cristiani, ebrei, musulmani. Tutte le tre grandi religioni monoteiste erano rappresentate e c’erano anche due buddhisti. Dal punto di vista religioso, eravamo straordinariamente integrati. Molte persone le prendemmo sul posto. Gente di passaggio o che abitava nei dintorni. C’erano anche tre macchinisti italiani che manovrano una gru Atlas ed era fantastico il modo in cui la facevano muovere, con un ritmo e una tale grazia!».
Si procedeva in un perfetto e fecondo isolamento. «La gente che lavorava al film», spiega il regista, «non tornava a casa la notte, non parlava con gli agenti, non guardava la tv, niente. Eravamo da soli, in un Paese straniero. Fu questo, credo, che fece avvicinare le persone tra loro e che fece in modo che questo film diventasse la nostra vita, un’esperienza cover all together. " Neeley added: "We all felt involved in what we were doing. We were nomads, a tribe of artists who have come to fulfill our mission in the desert. And we were friends, as were Jesus, Mary Magdalene, the apostles, Judas. People who had gone through life, made their choices right or wrong. What happens to everyone, every day. So it worked Superstar. "
In this specific context, a cross between a monastery and a town, grew the friendship between Jesus and Judas-Neeley-Anderson. "Carl and I," says Ted, "during the process often went to reread the pages of The Last Temptation, the book Nikos Kazantzakis, from which in 1988 drew the Scorsese film of the same name. We were both raised in the southern United States under the gaze of the Baptist Church and knew the Bible well. But we needed another point of view, to detect the human elements, not just religious. "
In that role he was assigned, Anderson had brought with him his whole story. It was one of twelve children of a mill worker and a seamstress. At Dunbar High School, where he graduated, there existed the racial segregation. "Carl had a face, an innocent look," says Neeley. But also a great desire to surrender, to come to realize his dreams. He enrolled at Howard University and became lead singer of rock band Second Eagle. When a TV producer saw a clip of the band playing music from Jesus Christ Superstar, yet never performed in the United States, hired Anderson and he was the turning point.
"With the betrayal of the scene between me and Carl started something that lasted deep into the next thirty years." Ted Neeley is interrupted, and starts to cry silently back to whisper: "I miss you, Carl." Then revives memories of the thread: "How many tears shed that night by reciting, in the garden. Then we were talking a long time. We talked about what awaited us the next day. Oh, the emotional intensity felt in those days! Experience something profound, what people dream of living in a relationship between two people. The story of Jesus and his betrayal united us and made us stronger. " A force that defied the dangers and overcame them. As happened in the scene of the hanging, in Caesarea. "The tree was near the edge of a cliff and the first take, the rope broke. Carl was about to fall and I was there to watch, even if it was a scene that obviously did not provide for my participation. But I wanted to live the same, and I was there, a spectator. Thank God I was there! Why Carl reached out his arm and clung to my hand as he fell. I was right in front of the camera. " In short, on the set and who knows what Jesus saved Judah did not go so well in reality.
But that was not the only episode that he thought during the making of the film. Ted speaks slowly, frame by frame focuses on what lived in those days: "On the set when we arrived at the end of the day, and we were preparing to take the bus back to the hotel, which has overwhelmed me that I had to pass close to the place the sequence of the crucifixion. I had to always remember what was going to happen. "Whatever happens - I thought - will hang there until the end." For me to see every day on Golgotha \u200b\u200bwas a kind of premonition. It was hard, but needed to meditate. That place always reminded me of what would happen. It is probably the same experience that was Jesus. "
During the filming of the crucifixion, the weather changed suddenly. "In that part of Israel does not rained for an infinity of time and suddenly there was a strong wind and a violent storm broke. The director told everyone to go away because it was dangerous, but I was planted there on the Cross. I felt with the megaphone shouting: "Pull down, pull it down." After almost collapsed. But I'm still here, although the scene has changed me inside. "
Jewison is posted in the story, but he also witnessed an event that left him with a question mark and a lot of emotion. He was filming the last scene film, which closes with the sun setting over the crucifix. "While I was shooting this scene, something quite unexpected happened. A figure appeared out of nowhere. I had to stop shooting and instead continue to run. I realized then that it was a shepherd and his flock of sheep followed him as we follow the spirit as the sun disappeared. It was something that overwhelmed us all. And we stood there in tears, not knowing what to do. We just had to shoot a sunset, instead ...». Critics wrote that the director wanted to end this means that Christ has died but his message was not lost. Only the pastor was not in the script, had appeared from nowhere, so that the crew seemed a sign or an omen.
director and producers were very much afraid that the controversy could trigger Superstar. After all, it was the first time you saw a Jesus song. Religious faith is always a sensitive nerve in the public and most fundamentalists would not have liked the setting very "earthly" in the film. Norman Jewison says he met with envoys from the Vatican in London: an unidentified lord and an envoy of L'Osservatore Romano. At Pinewood Studios they had to attend a preview screening of the film. "I held my breath because I did not know what would be their reaction. When they came they were speechless, overwhelmed by the effect caused by the emotional film. All refer to Rome, I was contacted and I sent a copy to show it to Pope Paul VI. So we got the support of the Catholic Church. " It seems that in those hallowed halls were also enthusiastic about the interpretation of the actors. Ted Neeley points out: "Someone in Rome said:" The guy who does Jesus should be canonized. " Today I would answer: if there is someone to be sanctified, that's Carl. " That is, Judah.
Enzo Romeo
http://www.stpauls.it/jesus/1006je/1006je98.htm
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