Remember Ted Neeley in the 1973 film adaptation of the “Jesus Christ Supertar” musical theatre extravaganza? It was his eyes that were striking, and those are the features that work best for Robert Powell in this version of the story of Christ. Starting with the nativity, and featuring quite a formidable cast of actors depicting those crucial to the tale, Franco Zeffirelli uses convincing (North African) locations, some meticulous production design and sticks fairly faithfully - if broadly - to the biblical chronology to regale us with a story that Powell holds together skilfully - even if he doesn’t appear until quite a way into this. It isn’t just a biblical epic, though, it also tries to use the supporting roles to illustrate and explain the political situation that prevailed as the kingdom of Judea is ruled successively by father and son Herods (Peter Ustinov and Christopher Plummer) on behalf of the Roman overlords. Also, the effort from Michael York as John the Baptist is easily the best effort I’ve ever seen from that actor as he epitomises the vulnerability of the ordinary people as scared of their temple Pharisees as they were of Pontius Pilate (the sparingly appearing Rod Steiger). There is a great deal of dialogue, but that, the pace and the Maurice Jarre score allows it all to take it’s time and allow us to gradually immerse ourselves in the events of the time. It’s…

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