MEOW!
For Joe Connolly.
Nostalgic Insights: Oh lord. Where do I begin after that pun?
If my parents did not meet each other during a production of this musical, if Stephen Schwartz did not write the songs which would not be included in John-Michael Tebelak's book, and if the Gospel of Matthew had not been written and shared with millions of people all throughout the whole wide world...I would not exist. My sister would not exist. My parents would've gone off on a wholly different adventure. The reviews that you've been reading for Meow's March Movie Musical Madness would not have been written. Well, it could have been written, but it would've been written by somebody else. And I wouldn't know the person that I would appreciate for writing the reviews. I wouldn't know the people that was involved in a production of Godspell I was in a couple of years ago at the First Congregational Church of Vernon (FCCV). Worse of all, I wouldn't know you. So you can technically thank the lord that you know me very well. I thank the lord every day that I know you as a good person.
Yet, even if Godspell wasn't one of the pivotal reasons as to how I came to be, this musical would still be a treasure on its own. The oh-so beautiful music that we hear, the colorful characters we come to know (Most of the characters, with the exception of Jesus and Judas, are named after the performers portraying them), the universal messages we receive, and of course, the story that has become timeless as the days pass by. It's a musical for everybody, regardless of gender, race and religion, and it's one of the reasons why it has become such a popular phenomenon all over the world. But the most important reason why this musical works is that it treats its subject matter with an unadulterated, child-like point of view. So when Jesus dies on the cross to save our sins in this musical, it plays out as if our innocence has finally been taken away from us. What won't be taken away from our experience, however, is the maturity and strength that is instilled in us as we head towards a brighter future.
I sure didn't learn that much when I saw the movie musical adaptation as a seven-year-old boy; I was freaked out throughout most it. I had no idea why everyone was dressed up in clown costumes, while behaving so creepily that they could be confused as religious child molesters. Of course, as the years pass, I have matured so much to the point of actually writing the words 'child molesters' in a review. And I've been able to see the goods that this film brings, and how faithful it remains to the original source material. Plus, Victor Garber makes an awesome Jesus. No arguments required.
So, I actually have two questions for this movie musical adaptation of Godspell: 1.) Does it hold up today after nearly forty years since its release, and 2.) Is it one of the few definitve interpretations of a musical that I personally hold responsible for my existence on God's greatest gift?
Critical Insights: 1.) Today, I consider this movie musical adaptation of Godspell to be a mixed bag. On one hand, the original source material remains intact, and the screenwriters climb high in order to keep the integrity of its strong thematic elements. The music by Stephen Schwartz also remains intact, and the actors perform the songs with as much joy as you could get from watching the numbers being performed on stage. On the other hand, there are some severely outdated moments in this film, moments that'll make you think "Yup. This is the '70s." Of course, you know you're watching a film from the '70s when there's a shot of the twin towers during "All for the Best," which can serve as a painful reminder to those who had to suffer through 9/11. Not very wise on the director's part. I also felt that the actors walk on an extremely tight line, with one side being child-like, and the other side being childish. Some parts of this film nearly fall into the latter category, such as when the actors are reciting passages from the Gospel of Matthew. The moments that fall on the child-like side are during the musical numbers, and they redeem the childish moments until it eventually wins you over with a beautifully crafted finale. Plus, Victor Garber still makes an awesome Jesus.
2, and this is more of a nostalgic insight.) It's hard to create a definitive adaptation of a musical that you personally hold responsible for your existence. It's even harder when you compare a movie musical with a production of the same personal source that you were involved in. When I worked on Godspell 2010 with my cast-mates, I got a taste of what my parents must have felt when working on this musical together. In fact, they even worked on it again when I performed in it; my dad was the visionary artistic director, while my mom was the wonderful music director. I stand by that working on Godspell 2010 was one of the best performing experiences of my life, and I don't mean it as pure bias since my entire family was involved (My sister also sang "Bless the Lord"); what we created back in 2010 was a genuine definitive adaptation, and one that I could not have been happier to be a part of. So naturally, comparing the production I was in with the movie musical adaptation would be rather pointless; they're both different forms of entertainment with unique perspectives on how to interpret these stories through the power of song.
As is, this film adaptation of the absolutely wonderful Godspell does more than enough right to merit a couple of viewings, even if some of the moments feel too childish and are now severely outdated. Still, Victor Garber makes one awesome Jesus.
And Joe Connolly will always make one fantastic director and father.
Out of five spelling errors, I give Godspell...
AND A HULF!
Can you guess what film has that dramatic spelling error in those pictures up above? Well, you shall know in the next review!
Until next time,
HAIRSPRAY
and MEOW, of course!
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