Kristin Coleman

Jesus: Fully Human, Fully Divine?

Many movies that transcend the generations and are watched decades after
their creation do so because they have chosen an essence of the time period and
captured it in some way. This, when combined with the power of a Jesus film, can
make a movie carry a very powerful message about both religion and culture.
Godspell is one great example of this. Godspell’s success is due in part to its use of
countercultural influences to portray a more human Jesus that appealed to a
younger generation but still carried many important messages of Jesus as seen in
the gospels.
Godspell was originally a Broadway musical created by John-Michael Tebelak
in 1971. Due to its popularity, Columbia Pictures turned it into a film in 1973,
directed by David Greene (Staley & Walsh 2007, 69). The movie begins in a bustling
New York City, where a character revealed to be John the Baptist summons a few of
these citizens who appear to be listening to him and brings them to Bethesda
Fountain in Central Park. Jesus appears and the baptization scene takes place. Jesus,
John the Baptist, and Jesus’s new disciples make their way through a now silent New
York City, singing and acting out a few of the notable stories of the gospels,
especially from Matthew and Luke. Some noteworthy settings include Central Park,
a junkyard, and the unfinished site of the Twin Towers. After making their way
through New York, the movie finishes back at the junkyard where John the Baptist
plays Judas and betrays Jesus. Jesus is then crucified on the fence. The disciples
carry Jesus back through New York City and as they turn the corner, the city
transforms back into its hectic metropolis.
Godspell portrays a very different version of Jesus than previously seen in
movies. The Jesus portrayed in Godspell is very human, although he is still assumed
to be divine. The absence of miracles and the lack of a resurrection scene are two
examples given by Staley and Walsh that create the most human Jesus seen in
movies up to that point (2007, 70). This portrayal of Jesus appears to arise because
of the popularity of the counterculture seen in the 1960’s. Godspell represents

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American Romanticism and capitalist consumerism, making it appealing to the

viewers of the time. This take on the movie also separated Jesus from the church,
again making him seem more human (Walsh 2003, 74).
One way in which Godspell represents a more human Jesus is in the setting.
Godspell takes place in the middle of New York City. This point is stressed when the
Creator’s voice is heard as the camera is panning out over a graffiti-covered wall and
then New York itself. After the Creator is done speaking, car horns and traffic are
immediately heard, followed by the sounds of the city. In most previous films, the
setting has been somewhere historically significant to the life of Jesus, or in a place
where the setting was created to represent this. Godspell revolutionized this idea
and had the whole story take place in and around New York City. Baugh
hypothesizes that New York represents a place or group of people in need of
salvation (1997, 43). I believe this symbolized that Jesus is omnipresent, and is
usually seen where he is needed most. While Jesus and his disciples were
gallivanting around the city, the city itself appeared to be vacant, a very different
situation than what appeared in the beginning moments of the film. This setting,
compared to a more historical setting, allowed Jesus to appear more reachable to a
younger generation.
The appearances of Jesus, John, and the disciples also depict a more human
Jesus. When Jesus first appears to John (and the audience) he is not wearing any
clothing but underwear and his face is painted. After John baptizes him, he appears
wearing striped clown pants, clown shoes, and a superman shirt with suspenders.
The disciples reappear, also dressed as clowns. When they all gather at the
junkyard, Jesus paints each of the disciple’s faces, similar to his own but each with
there own unique depiction. This act marked each of the disciples as well as John as
his followers. Godspell’s representation of Jesus and his disciples as clowns made
Jesus seem very human. Walsh believes that the clowns suggest the goodness of the
world, opposed to harsh images such as a countercultural reformer or a cynic would
(2003, 77). It is hard to image a totally divine Jesus dressed up in a striped pants,
clown shoes and a superman shirt, but is a lot easier to tolerate when you picture

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Jesus as a human with divine powers. These clothes made Jesus appear more
comical and less severe, allowing a younger viewing generation to appreciate the
wisdom Jesus has to offer without being overwhelmed at the gravity of the situation.
One more way in which Godspell allowed Jesus to appear more human and
therefore appeal to a younger generation is in Jesus’s relationships to the disciples.
In many of the gospels, Jesus’s relationship to his disciples is complicated, at best. He
is a mentor of the disciples and in most gospels quick to scold them. In Godspell,
however, 8 disciples are chosen by John the Baptist. I believe it is also important to
note that John the Baptist as well as the disciples are introduced before Jesus is, and
the theophany of Jesus doesn’t occur until ten minutes into the film. Walsh remarks
that the disciples are picked out of the crowd because of their interest in things such
as art, music, literature, and dance (2003, 73). One of the disciples was playing a
recorder. Another was at a library. One was a ballet dancer. One was listening to
music. Another was on her way to showcase her art. Throughout the movie, Jesus is
seen arm-in-arm with the disciples, dancing and singing and recreating various
gospel parables. He appears to be very close to each and every one of them,
including John. As Walsh points out, although John and Jesus appear to be friends,
John many times plays the conflict parts in the reenactments (2003, 76). John, at the
end of the movie, is also revealed to play Judas as well, the disciple that betrays
Jesus and leads to the crucifixion. In this film, Jesus appears to be closer to the
disciples than in any of the gospels, making him more accessible to a less religious
generation. Another cultural impact that was seen in the movie was that women
were included as some of the disciples. This is most likely an effect of the greater
freedom of women in the 1960’s. One scene where the relationship between the
disciples and Jesus is tested is the scene with the Pharisee monster. The disciples
are the ones powering the Pharisee monster, and Jesus gently rebukes the monster.
Baugh believes that the disciples being the puppet masters of the Pharisee monster
represents the evil that is within everyone, even those closest to Jesus (1997, 44). I
agree with this analysis because one of the central teachings of Jesus is to rise up

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and do good. Evil is not one entity. Instead, it is something inside every human being
and is something that humans make conscious choices to avoid.
One more way in which Godspell created a more human Jesus was in the
interpretation of the stories of the gospel. This novel interpretation may have even
been alluded to in the title of the movie. Baugh believes that the title of Godspell
itself was an indication of a more modern telling of the gospel. He believes the name
“Godspell” references a new spelling, or story, of the good news. Gospel is loosely
translated to “good news” (1997, 42). Godspell took a few of the more notable
stories from the gospels of Matthew and Luke and put unique twists on them. Other
than the location, the baptization scene is one similar to that of the gospel telling.
One story that Godspell changes from the gospel is the parable of the sheep and the
goats. In Matthew 25: 31-46, the sheep are allowed into Heaven because of their
good deeds but the goats are left behind. In Godspell, although this is how it is acted
out, after the goats have learned the lesson, Jesus also invites them with hugs
(Walsh 2003, 78). Although the Sermon on the Mount is a significant moment in
Godspell, it is also not an exact recreation from the gospels. Godspell’s Sermon on
the Mount appears to be a combination of Luke’s Sermon on the Plain (Luke 6:20-
49) and Matthew’s Sermon on the Mount (Matthew 5-7) that emphasizes love and
forgiveness (Staley & Walsh 2007, 71). The crucifixion scene is also different in
Godspell than in the gospels. One major difference, as mentioned before, is that John
the Baptist, a committed follower in the movie, is also instructed by Jesus to play
Judas and betray him. Even though the Judas character betrays him, Jesus still kisses
him on the cheek. The resurrection scene is also vastly different from any of the
gospel endings, mostly because it barely exists. The resurrection scene consists of
the disciples and John/Judas carrying Jesus through the empty streets of New York
City. Once they turn the corner, the streets are again filled with people. This could be
a symbol that Jesus died for everyone to continue on with their lives as they do, and
could further the idea that Jesus is an omniscient presence.
Although Godspell portrays Jesus in a more young and human way to appeal
to the younger generation of the counterculture, I believe that Godspell still clearly

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illustrates the purpose of the Gospel’s by clearly explaining Jesus’s teachings.

Although some of the stories are altered to fit some of the viewpoints of that current
society, the stories still obviously reflect the main lessons seen in the gospels. Some
of these messages include loving God, to give to those in need, and to be kind to
everyone. Baugh states that Godspell mixes vaudeville and theater with circus and
pantomime to present messages (1997, 42). Sometimes this very boisterous
approach can mask the very powerful messages that are being portrayed by the film,
which is what makes the film deep on many levels and makes the film deserving of
multiple viewings to capture the more subtle ideas. I believe this depth is one of the
things that makes Godspell a film that is still popular 40 years after its creation. On
the surface, it is a happy film about clowns dancing around New York City. Delving
deeper, the purpose of Jesus and his ultimate sacrifices become very weighty subject
matter.
Personally, I feel that Godspell was a successful film in interpreting the
gospels and showcasing Jesus Christ. Godspell definitely used creative liberty to
retell the story of Jesus. Although Godspell does use the gospels of Mark and Luke as
templates, the stories are adapted to fit the carefree nature of the film. This allowed
Jesus to better relate to his disciples and appear more human and relatable.
Although he appears to be human, it is obvious by his divine wisdom throughout the
film as well as his premonitions that his life is meant for a greater purpose. While on
the surface, the film is flashy and attention getting, the portrayal of the messages of
Jesus is very powerful. Although it was unorthodox and offensive to some, making
Jesus and his disciples appear as clowns was an ingenious move of the Godspell
directors. Making them appear as clowns helped remove some of the seriousness of
the concepts of Jesus. This allowed the generation of the counterculture who was
becoming a more secular generation to appreciate Jesus in a new light. I believe this
is one of the reasons Godspell is so popular today. In our society, which can be
considered even more removed from the church, this portrayal of Jesus still allows
us to grasp the messages he was teaching without being overwhelmed by the ideas
of religion in general.

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In conclusion, Godspell is a Jesus film that is a product of the thinking of the

counterculture derived in the 1960’s. In answering the question, “why do you say
that I am?” Jesus appears to be a human with very divine power and ideas. It caters
to a younger generation of people slowly moving away from the traditional ideas of
religion. Godspell was able to portray the teachings of Jesus using a group of
disciples dressed as clowns who reenacted various teachings of Jesus throughout
New York City. Although it does present a more human Jesus that a younger
generation can relate to, the significance of the teachings of Jesus and the gravity of
his death are still expertly depicted in the movie.

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References
Baugh, Lloyd. 1997. Imaging the Diving: Jesus and Christ-Figures in Films. Franklin:
Sheed & Ward.

Staley, Jeffrey L., and Richard Walsh. 2007. Jesus, the Gospels, and Cinematic
Imagination. Westminster: John Knox Press.

Walsh, Richard. 2003. Reading the Gospels in the Dark: Portrayals of Jesus in Film.
Harrisburg: Unity Press International.