SRT 281
March 20, 2017
Forgiving the Mark of Evil Within All Humans
in David Greene’s Godspell
Godspell w
as originally formatted for theatrical audiences as a musical.
From this, David Greene transformed it into a musical film. Through the use of
film and various camera works, the viewers get a more “intimate contact with
the characters” (Baugh 2000, 34). The point of view is not of audience
members, it is angled from the characters. Through this, deeper meaning is
provoked for the viewers to immerse themselves in. Instead of thinking of
people “acting,” the movie version draws attention to the characters and their
feelings due to the evoked intimacy of the camera. This up-close character
development helps to give viewers a broader perspective of each character,
making the point of view more third person omniscient, as opposed to the
limited conscious emotion in a stage production. With this new perspective,
Green’s message of forgiving each other’s sins is brought to light. Greene’s
Godspell developes a forgiving-teacher image of Jesus, radiating his divinity,
which ultimately works to make viewers recognize the mark of evil within all
of us that is forgivable through the word of God. This further unveils that good
and evil cannot be defined in black and white; wrongful acts do not make
someone completely evil. This manifests through the modern location, the
musical theater aspects, and the betrayal, crucifixion and resurrection.
The film is not set in a Biblical setting that the audiences would expect
from a Jesus-film. G
odspell is set in modern day New York City. In Lloyd
Baugh’s book Imaging the Divine: Jesus and Christ-Figures in Film he states that,
“New York here is representing any great metropolis, or urban civilization, or
humankind, in need of salvation. It ends with the same noisy, chaotic
metropolis, but now about to be ‘invaded’ or blessed by the saving grace of the
Christ-event just renewed” (Baugh 2000, 43). The goal of the movie is not to
reconstruct Jesus’s life based on historical foundations within a
new-and-shiny setting, but to rather devise “an ‘actualizing’ in a
contemporary setting, in contemporary language and cultural modes, and in
contemporary spirit, of the Christ-event” (Baugh 2000, 42). As Jesus is
introduced, the atmosphere changes. The scenes a shot in what seems like
another dimension of time and space, moving into a “mysterious, timeless
realm of Divine” (Baugh 2000, 47). The alternate dimensional atmosphere
suggests metaphoric meaning behind the title: “Godspell as the spell of God,
the fascination, the ecstasy of God, the mystical experience of God” (Baugh
2000, 47). This services the overall experience as being “both real and
mysterious” (Baugh 2000, 47), and establishing the “spell-of-God” (Baugh
2000, 47). The time and location of the film accentuate the timelessness of
Jesus’s teachings, in the sense that the genuine meaning behind it all is the
significance, not the setting or time period.
The musical comedy aspect of Godspell is essential to the films identity,
which enlightens audiences to clown-like costumes, and the enacted teachings
of Jesus. The disciples are visualized as regular everyday people before their
baptism; their clothes look modern and casual. After their baptism, the
characters are dressed in clown-like clothes to symbolize being saved, hence
the song they are singing “Save the People.” Jesus’s clown portrayal creates an
atmosphere outside of everyday life, one of secret divinity. “Jesus-the-clown
calls his disciples out of the everyday world of routine, obligation and stress
into a mysterious wonderful world, a world in which everything is possible, in
which the play-reality is more authentic and significant than the objective,
scientific realities of everyday living” (Baugh 2000, 47). Jesus is costumed in a
superman t-shirt, how ironic; this is the beauty of musicals. Musicals can get
away with using this type of costume play-ons to represent further meanings.
Jesus wears a superman shirt because he is the savior. In Richard Walsh’s book,
Reading the Gospel in the Dark: Portrayals of Jesus in Film, he expresses that the
clown costumes are not just instruments used to create a thematic
environment, but to depict Jesus and his followers as ‘otherly,’ and divine
(Walsh 2003, 77). Through this, Jesus is imaged as all affirmingly divine, and
as a liberator. “His teaching is meant to free his disciples from what limits
them and to allow them to free one another” (Baugh 2000, 45). Greene
manifests this through the Last Supper. To represent the washing of the feet,
Jesus wipes off the face-paint from the disciples faces , and then they wash
each other, manifesting the liberation of people by others. This experience is
one of the final stepping stones to the disciples salvation, they get to this point
my enacting Jesus’ teachings and parables. “By placing the teaching of Jesus’
parables in the hands of the disciples, Godspell is suggesting two important
biblical-theological concepts: the closeness of the disciples to the Master, and
the oral tradition of the teaching of Jesus to the Christian community” (Baugh
2000, 44). Godspell is enacted through meta-plays: plays within plays. The
disciples who are acting in a musical film act out a series of scenes within their
own scenes. The most significant of the meta-plays is when “Jesus comes face
to face with a giant monster-puppet, animated from within by the disciples,
and which suggests the presence of evil even in those closest to Jesus” (Baugh
2000, 44). The disciples are acting as the “evil” in this Biblical moment. The
actors are acting as actors, making the viewers of G
odspell see themselves as
their part, viewers. With this, an intimate experience occurs that makes the
viewers see the actors/disciples as just being other humans like themselves,
further suggesting the presence of evil within themselves as well as the
disciples.
Two of the most substantial strays from Biblical examples are Greene’s
choices to have John the Baptist and Judas be the same character, and the
exclusion of a bodily-Jesus-resurrection. John the Baptist also takes on the
Biblical plot of Judas, in the sense that John and Judas are the same person, not
just being double-casted. John-Judas is the “ringmaster” (Walsh 2003, 77),
who begins Jesus’s teaching by gathering the disciples, and ends Jesus’s life
with his betrayal for money. John-Judas is the one to actually crucify Jesus in
the movie as opposed to the Biblical version of the Romans and Jews. He
physically chains Jesus to the fence in a crucifixion-like form. As explained in
Jesus, the Gospels, and Cinematic Imagination: A Handbook to Jesus on DVD, “the
disciples share Jesus’ suffering as a community, screaming out and flailing
against the fence with Jesus” (Staley and Walsh 2007, 70). The reasoning
behind Greene doing this is to signifying the sin/evil within all humans being
the reason for Jesus’ crucifixion, just like the choice to have the disciples act as
the evil-puppet as expressed in the above paragraph. When look into the
question of “who actually crucified Jesus,” Gordon Robertson suggests that,
“I did. Every one of my sins cried out, 'Crucify Him!' Without Jesus, there is no
forgiveness. There is no hope for me. With Him, there is. But I have got to
recognize and I have to own that every one of my sins is responsible for the
Crucifixion. I can't lay the blame on Pilate [or in this case John-Judas]. I can't
lay the blame on the Sanhedrin. I have got to own it. That's what it is all about
when we come to the Cross is acknowledgment that it is our sin that put Jesus
there” (Robertson 2014, par. 5). Ultimately, Greene is forcing viewers to
recognize their sins, and how forgiveness can be found in Jesus as well as other
fellow people. Jesus is the answer, but other people are the answer too, which, I
would argue, is why Greene decided to exclude Jesus’s bodily resurrection.
“Godspell imagines Jesus as a teacher who enlists disciples that continue his
work after his death” (Staley and Walsh 2007, 72). There is not a direct
depiction of Jesus’ resurrection within the film, there is only a suggestion. The
disciples carry Jesus back into New York, spreading the Good News. “After the
death, the disciples danced with him, and the dance and song go on” (Baugh
2000, 47). Jesus is resurrected through the disciples, and their duty to bring
salvation into “the everyday hustle and bustle life of the metropolis” (Baugh
2000, 46). Comedy does not need a resurrection to convey a strong and
meaningful message. Comedy is about giving viewers the “ability to see life
differently” (Walsh 2003, 79), which is what Jesus’ teachings are all about.
Good and evil cannot be defined in black and white; wrongful acts do not
make someone completely evil. This manifests through the modern location,
the musical theater aspects , and the betrayal, crucifixion and resurrection.
Greene’s Godspell d
evelopes a forgiving-teacher image of Jesus, radiating his
divinity, which ultimately works to make viewers recognize the mark of evil
within all of us that is forgivable through the word of God and fellow humans.
The question becomes: was the film successful in it’s portrayal? “What
happens to the Christ of faith when he is represented singing contemporary
lyrics, surrounded by singers and dancers, and amplified by Dolby stereo sound
and spectacular filmic effects? What happens to the Good News, the message of
salvation in the life, death, and Resurrection of Jesus Christ, when it is
mediated through the musical film?” (Baugh 2000, 35). The musical
orientation is what makes the film most effect in it’s ability to connect with the
audience, it entices viewers to look past the divinity. The use of the meta-plays
makes them see a reflection of themselves to get the film’s message. Greene’s
Godspell definitely diverges from usual Jesus films, but it brings a new
perspective, enlisting all humans as obligated to take a small portion of “the
savior job.” Shades of gray are the only way in which life comes; sins will be
made, and we are all part of the puzzle of forgiveness.
Bibliography
Baugh, Lloyd. "The Jesus Musicals: Jesus Christ Superstar and Godspell." In
Imaging the Divine: Jesus and Christ-Figures in Film, 33-47. Franklin,
Wisconsin: Sheed & Ward, 2000.
Robertson, Gordon. "Who Crucified Christ?" The Christian Broadcasting
Network. September 14, 2014. Accessed March 15, 2017.
http://www1.cbn.com/biblestudy/who-crucified-christ%3F.
Staley, Jeffrey L., and Richard Walsh. "Godspell, 1973." In Jesus, the Gospels,
and Cinematic Imagination: A Handbook to Jesus on DVD, 69-73. 1st ed.
Louisville, Kentucky: Westminster John Knox Press, 2007.
Walsh, Richard. "Location, Location, Location: Godspell and the Teachings of
Jesus." In R
eading the Gospel in the Dark: Portrayals of Jesus in Film, 69-89.
New York, New York: Bloomsbury T&T Clark , 2003.