Alternate Best Actor 1973: Carl Anderson in Jesus Christ Superstar

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Carl Anderson did not receive an Oscar nomination, despite being nominated for a Golden Globe, for portraying Judas Iscariot in Jesus Christ Superstar.

I'll admit any Jesus Christ Superstar adaptation already has the favor of the music in its corner, as it is one of the few musicals where I pretty much like to love every song. I think also the rock opera format is ideal for this story, since you come in likely already knowing it well. This version even in its theoretical "low budget" styling, I actually I like a great deal, as it very much kind of recognizes the format, while in a way kind of directing us straight to the emotion of it. This neither getting caught in sort of the pageantry if it attempted a biblical epic approach, or getting caught too much in the idea of any subversion of the story if it went more towards overt style. I feel here it balances both notions to greater effect, this using the actual landscapes, but as a "troupe production". It recognizes that it is actually a pure realization of that story, just through a unique presentation of it. 

 

A masterstroke of the musical is that while Jesus (played here by Ted Neely) is a lead, he is not a sole lead. This as it grants about equal focus to Judas, his betrayer. Now this version loses no musical power from any other recording given it didn't cast movie stars, rather including Broadway performers, though not all specifically from the original production. Carl Anderson was the replacement Judas, and his vocal abilities for the stage are readily noticeable. To say Anderson delivers on every song is more than any understatement. His mastery of each every note is remarkable, and I can, and have, listened to his specific tracks again and again. His singing just is incredible. Although with that, I think is where we see a risk paid off within the notion of casting from the stage, as sometime stage presence doesn't carry over to screen presence. This as his singing doesn't just merely hit the notes, though he certainly does, but he importantly acts them. Acting them not just in the moment but crafting an entire portrayal of Judas which is immensely fascinating. This as he isn't at all a villain, rather in each song he slowly crafts with it this portrait of a very specific person in relation to Jesus. 

This as we open the film with "Heaven on their minds" we get a striking emotion within his work as Anderson reveals Judas's discontent. The discontent is not of hatred though rather frustration within his performance. A frustration that makes particularly powerful because he doesn't present it as coming from a place of hate rather a place of admiration if not love. This as the moments of expressing the past time with Jesus where the emphasis did not appear to be on his divinity, Anderson presents within his performance an anxiety and anguish around the anger of the state. Judas suggesting a man very much believed in the message but with this sense of discontent as though it has been obscured by other things. This sense of admiration making the rendition very much a warning, and not a threat. I love for example how he sings "we are occupied" which is brilliantly almost oxymoronic as he whispers while still singing it with might. In that moment Anderson creating the sense of the fear of the follower, who sees them on the wrong path and with a clear sense of the passion that once defined a loyalty to Jesus. This whole scene though, being I think testament to the strength of Anderson's performance, because it is never about just the singing. His movements express in every sort of weighted step, a man burdened by his perceived knowledge, and his expressions match every word with equal resonance. 

The two numbers where we are among Jesus and his followers "What's the Buzz", "Everything's Alright", both feature Anderson basically as the counterpart to each prevailing sentiment. The first time we see Judas decrying Mary Magdalen, a prostitute, being in Jesus's company. I think the way Anderson plays this scene is brilliant, because as much as it still is Judas being a jerk, his approach is less of an attack on Mary, and more so fierce counsel to Jesus. Every word he expresses it is within this sort of familiarity we see in his face, and again that distress as he warns "they need only a small excuse to put us all away". Again Anderson emphasizes so effectively Judas more so as a friend counseling someone he sees going down a wrong path, than a pompous villain, or even overly zealous fool. This is point expressed all the more potently in the second song, where Mary is attempting to comfort Jesus with fine ointment. Anderson's musical decrying of it, as he enters in again with such ferocity, is perhaps my favorite singular line as sung in the film. A reason for this though is in the moment, where Judas notes such extravagance could've been given to the poor, there is such passion and pain in Anderson's voice and eyes. He shows a man who genuinely is heartbroken that he can't do more to help others, and his lashing out is again from a place of technically deep virtue, not a vice. I love the silent followup moment where Jesus asks Judas to appreciate what he has, as in the moment of genuine understanding in both their faces, are we granted a sense of the friends they were at one time.

I think what is representative of the strength of the work of Anderson is in so many of the scenes where he actually doesn't sing a note and is merely among scenes. This as he stands apart and is distinct on his own. This in wonderful moments where his reactions take in the more zealous nature of the other followers or some of Jesus's actions, there is a sense of dread and concern he conveys so powerfully within his work. He doesn't sing a word, but you know exactly what is going on with him. This to the point that there is a build within his performance towards finally returning to a song with "Damned for all time". The song where Judas essentially agrees to betraying Jesus. Anderson is magnificent in the scene as his physical manner of a man barely able to stand, basically in a writing condition of emotional distress creating the sense of a man both unable to deal with betraying Jesus but also unable to feel he can stand behind him either. The moment of the betrayal is fantastic, as the high priests tempt not with the money, but rather the charity money can buy. Anderson's moment of taking it, and giving up Jesus are outstanding as he portrays this internalized kind of detachment, as though Judas himself is wholly living with himself as he makes this decision. Now during the "Last Supper" sequence one can say we get the best of both aspects of Anderson's performance. This as when Jesus starts making accusations of betrayal, Anderson's face of knowing while hiding is great, before finally snapping into direct confrontation with him. Anderson's portrayal of the anger is striking because while it is most directly that here, it still is encased with a sense of frustration, and even shame in the last moment as he runs off. His expression rather heartbreaking as a man seemingly damned by fate. Again Anderson's work doesn't stop as the film shifts closer towards Jesus's trials. The brief glimpses we are granted Anderson doesn't waste as his face carries the weight of a true palatable guilt and grief for the man he loves. This until he finally returns his silver before committing suicide. This sequence Anderson is outstanding in through how quiet and even sentimental he begins it. This as his moments of remembrance along with a sense of despair. This before running to hang himself, where Anderson's vocals echo with such tremendous impact, of a man screaming at seemingly being made to be the betrayer rather truly choosing to be one. Now he does actually have one more scene, in the pseudo four wall break, where Judas donned in white return so to sing the titular song as an MC basically. Although a less emotional scene for him, still amazing because he's still singing. Frankly I'm surprised that Anderson didn't really seemingly get any major opportunities in film after this, because this is a stellar debut. Anderson gives  a mesmerizing musical performance, but he also gives a deeply emotional portrayal of Judas both in sound and silence.

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