6.4
Viewer Rating
Combines user and critic ratings from four sources
Jesus Christ Superstar (1973)
Bias Rating
Analyzing...
Progressive
Viewer Rating
Rating: 6.4
Overview
As played out by a theatre troupe, the last days of Jesus Christ are depicted from the perspective of Judas Iscariot, his betrayer. As Jesus' following increases, Judas begins to worry that Jesus is falling for his own hype, forgetting the principles of his teachings and growing too close to the prostitute Mary Magdalene.
Starring Cast
Where to watch
Bias Dimensions
Political: Leans Left
Diversity: High
Race Swap: Yes
Christianity: Positive
Judaism: Negative
Overview
As played out by a theatre troupe, the last days of Jesus Christ are depicted from the perspective of Judas Iscariot, his betrayer. As Jesus' following increases, Judas begins to worry that Jesus is falling for his own hype, forgetting the principles of his teachings and growing too close to the prostitute Mary Magdalene.
Starring Cast
Where to watch
Detailed Bias Analysis
Analyzing...
Progressive
Primary
The film receives a Left-Leaning rating primarily due to its humanistic and critical reinterpretation of a foundational religious narrative, emphasizing the questioning of established authority, the humanization of traditionally villainous figures like Judas, and a critique of mob mentality and political expediency over spiritual truth.
This film demonstrates significant diversity through its casting, notably featuring a Black actor in a central, traditionally white biblical role. The narrative, however, focuses on universal themes of power, betrayal, and human nature, rather than explicitly critiquing traditional identities in a modern context.
Secondary
The film features characters like Judas Iscariot and Mary Magdalene, who were historically Jewish (Middle Eastern/Semitic). These roles are portrayed by Black and mixed-race actors, respectively, which constitutes a change in race from their historical and canonical origins.
The film portrays Jesus as a deeply sympathetic and tragic figure, emphasizing his humanity, suffering, and the profound impact of his teachings. While Judas questions Jesus's divinity, the narrative frames Jesus's sacrifice with respect and pathos, aligning with the dignity of the faith's central figure.
The film depicts the Jewish religious authorities (Sanhedrin) as the primary antagonists, driven by fear and political expediency to orchestrate Jesus's arrest and crucifixion. This portrayal reinforces a problematic historical narrative, showing the institution as rigid, hypocritical, and oppressive in its actions against Jesus.
Norman Jewison's film 'Jesus Christ Superstar' is a rock opera depicting the final week of Jesus' life. The narrative focuses on biblical figures and events, and does not include any explicit or implicit LGBTQ+ characters or themes in its portrayal.
The film "Jesus Christ Superstar" is a rock opera depicting the final week of Jesus's life. It does not feature any identifiable transsexual characters or themes within its narrative, focusing solely on its biblical source material and its interpretation.
The movie does not contain any action or adventure elements.
The film adapts biblical figures, maintaining their historically and canonically established genders. No major characters are portrayed on screen as a different gender than their source material or historical record.
Viewer Rating Breakdown
User Ratings
7.3
7.1
Critic Ratings
5.0
6.4
More Like This
Center
6.8
Sweet Charity
(1969)
Political: Center
Diversity: Moderate
Progressive
8.1
Cabaret
(1972)
Political: Strong Left
Diversity: Moderate
LGBTQ: Positive
Progressive
7.5
Hair
(1979)
Political: Strong Left
Diversity: Moderate
LGBTQ: Positive
Progressive
7.1
Show Boat
(1951)
Political: Leans Left
Diversity: High
Progressive
7.2
Dreamgirls
(2006)
Political: Leans Left
Diversity: High
LGBTQ: Neutral
Progressive
7.3
Kiss of the Spider Woman
(2025)
Political: Strong Left
Diversity: High
LGBTQ: Positive
Leans Progressive
7.3
Moulin Rouge!
(2001)
Political: Leans Left
Diversity: Moderate
LGBTQ: Positive
Progressive
8.2
In the Heat of the Night
(1967)
Political: Strong Left
Diversity: High
LGBTQ: Negative
Leans Progressive
6.7
Nick and Norah's Infinite Playlist
(2008)
Political: Center
Diversity: Moderate
LGBTQ: Positive
Leans Progressive
7.9
The Visitor
(2008)
Political: Leans Left
Diversity: Moderate
Progressive
7.9
Stormy Weather
(1943)
Political: Leans Left
Diversity: High
Leans Progressive
6.8
Ruth & Boaz
(2025)
Political: Leans Right
Diversity: High
Progressive
7.1
Lady Sings the Blues
(1972)
Political: Leans Left
Diversity: High
LGBTQ: Neutral
Progressive
7.7
The Hurricane
(1999)
Political: Strong Left
Diversity: High
Leans Progressive
6.6
Respect
(2021)
Political: Leans Left
Diversity: Moderate
Leans Progressive
6.7
Yentl
(1983)
Political: Leans Left
Diversity: Moderate
LGBTQ: Positive
Progressive
7.9
Straight Outta Compton
(2015)
Political: Strong Left
Diversity: High
Progressive
7.4
Saturday Church
(2018)
Political: Strong Left
Diversity: High
LGBTQ: Positive
Leans Progressive
8.0
Blue Collar
(1978)
Political: Strong Left
Diversity: Moderate
Leans Progressive
8.3
Letters from Iwo Jima
(2006)
Political: Leans Left
Diversity: Moderate