The Caiaphases: Comparing Jesus Christ Superstar 1970 and 2000

Jesus Christ Superstar was released in the 1970s to a dubious audience. Although popular on stage, the idea of a modernized Jesus applied to rock 'n' roll seemed like it could turn off both sides. Many Christians at the time were morally opposed to rock music, believing it to be the work of the devil, and certainly not fit for a story about their Messiah. Meanwhile, the very topic simply did not necessarily interest non-Christians.

However, the movie proved to be a success and still has a considerable following. In 2000, a low budget, relatively unknown remake was made in Australia. Although difficult to obtain copies of, it has developed a cult following on the internet, preferring the new, modern sets, higher quality film, and the perspective placed on the characters by Gale Edwards and Nick Morris.

For all of the new film's good qualities and changes, certain subtleties from the original movie are either changed or entirely omitted. Although many of them seem simple at best, they change the entire atmosphere of certain scenes. Often times, not for the better.

Perhaps one of the greatest scenes of the original Jesus Christ Superstar was to a song known as "This Jesus Must Die" - in which the Sanhedrin attempt to convince the High Priest, Caiaphas, that this new Jesus of Nazareth is a risk that needs to be exterminated. It is based off a passage in the Bible in which the very same council of priests discuss the threat posed by the carpenter who recently rode into Jerusalem on the back of a donkey.

In the original, 1970's version, the priests look down upon Jesus as he rides in, convening to discuss the threat he poses. Annas, with clear ulterior motives, conjures images of death and chaos wrought by "this carpenter king", something that Caiaphas alone would be capable of dealing with. In the 2000 version, the Matrix-looking priests, dressed in leather black trench coats, with Annas and Caiaphas boasting shaved heads, sit in what appears to be a bunker as they watch Jesus's arrival on the television.

In the song, Annas is clearly the aggressor - pointing out the popular support being amassed on Jesus's "rabble rousing mission". All the while, the priests follow Annas's lead to a seemingly distant and flustered Caiaphas, and here is where the initial differences between the two versions set in.

As Jesus and his followers approach the city gates, the priests become agitated.

"Look, Caiaphas, they're right outside our yard," one priest says, pointing frantically.

Another declares, "Quick, Caiaphas, go call the Roman guard."

In the 2000 version of the musical, Caiaphas waves a hand dismissively and tells them to "wait", as though trying to call order to an excited group. He appears trying to collect his thoughts and consider his own course of action necessary to deal with this scenario. In comparison, however, the 1970s Caiaphas puts a particular sense of urgency in his command. An almost hint of desperation is heard in his tone as he cries, "No wait!" as though a priest were on his way to do that very thing: to call on the Romans. Caiaphas's declaration for the priest to wait is not out of a desire for silence, but from an understanding that such an event will result in a massacre. Something Caiaphas is desperately trying to avoid.

Moreso than the remake, the Caiaphas of the original is desperately trying to cow a political line that Annas is constantly attempting to push him over. The High Priest appears to put the good will of his people before anything else, the Jewish People of Israel are his first priority - an idea clearly not shared by his chief adviser, Annas, who continues to push him to more and more radical action.

When it appears obvious that Caiaphas is not going to budge on the issue for fear of the political ramifications - he even goes on to remark at one point that "Jesus is cool", acknowledging the peacefulness of his march. All the while, the priests conspire amongst themselves, injecting their own opinions on how they can stop this rabble rouser, this threat to their authority. Meanwhile the 1970s Caiaphas appears entirely uninterested - he continues to watch like a sentinel over the procession entering the city.

He reveals his weakness to the serpent-like Annas however, as he declares that, "I see bad things arising, the crowd crown him king which the Romans would ban. I see blood and destruction, our elimination because of one man." In the original film he says this as a sage, one who simply understands the logical series of events that would follow a religious icon entering the city and appealing to Jewish Zealots. He shakes his head as he says this, distasteful for these actions.

In the remake however, Caiaphas has a look of horror and seeming clairvoyance - as though he is physically looking into the future and is not too keen on what he sees. His eyes go wide and he falls back into his chair while declaring these things, all the while the priests, instead of communicating amongst each other, all collectively attempt to persuade Caiaphas the entire time.

This should be a key point that is ultimately missed upon in the remade version of the film. Where Caiaphas hints at his weakness, everyone begins to parrot the High Priest. Annas swoops in immediately, in what salesman refer to as an assumptive close.

Acknowledging that Caiaphas is near ready to make a decision, he asks him to commit by saying exactly what he plans to do to Jesus. The other priests quickly grow excited, offering up just how extreme the situation really is. After all, one points out, he's more popular than John was when John did his baptism thing.

Caiaphas at this point cuts them all off.

"Fools you have no perception, the stakes we are gambling are frighteningly high. We must crush him completely, so like John before him this Jesus must die. For the sake of the nation this Jesus must die."

This is perhaps the final killer of the remade scene. As Caiaphas utters these words, the other priests look at him as though with horror: is Caiaphas really proposing such an utter destruction of this lone man? Are they really getting in this deep into the issue? It is now beyond the point of no return - they were all potentially biting off more than they could chew.

But this runs contrary to the image that is conjured in the 70s version - and is likely the intended effect. Caiaphas is an experienced high priest - familiar to the high level politics between the Roman procurator and the religious natives. Rather than voicing his agreement to astonished priests, he is offering a prophetic warning. It rings to William Shakespeare's Julius Caesar, when Marcus Brutus refuses to allow the conspirators to take a vow to the mission; if they need be bound by a vow they were not committed enough to the operation. Caiaphas is offering much the same sentiment: there is no "half in" - to take Jesus head on was going to open a Pandora's Box that needed to be seen all the way through.

The sake of the nation counted on it.