Tommy

Tommy is born on the first day of peace to his mother Nora (Ann-Margret) and a war hero father. He witnesses a terrible incident and promptly goes deaf, dumb, and blind. He (Roger Daltrey) grows up to master the pinball and defeats The Pinball Wizard (Elton John).

I like this for the first half. The story meanders but at least it works. After Elton John, the plot becomes an utter mess. It rambles on and on. When in fact, Elton John should be the antagonist and the pinball battle should be the climax. The plot is the last thing that anybody seems concerned about. It's chaotic and near impossible to understand. It is a wild, flamboyant ride. Daltrey is fine but limited. Elton John's section remains the best. This is imaginative if nothing else.

Tommy (1975) was the film adaptation of the Who's classic concept album Tommy. The film and the album are slightly different (the re-recorded songs pale to the real deal). But it was interesting to see avant-garde film maker Ken Russell re-imagine Tommy for the big screen. The movie has an all-star cast of eccentric and top stars (Oliver Reed, Ann-Margaret, Jack Nicholson) and pop stars (Tina Turner, Roger Daltry, Keith Moon, Eric Clapton, Elton John and The Who themselves, as a group on stage).

The music was changed and performed for the movie. Most of the dialog was sung (by all of the actors) and Ken Russell changed some of the story to fit the movie. If you're a fan of the album you might be disappointed by the movie. But it's worth a watch just to see Oliver Reed, Ann-Margaret (in total HOT mode) and the others as they make cameo appearances and guest spots. I was slight disappointed but I was pleased with the results. I just wished they used the original music whenever they could.

Recommended for Who and Ken Russell fans.

My older brother bought an LP The Who's "Tommy" in the 60's. I was very young but I liked it. It was a project ahead of its time. In the 70's I had a fantastic music teacher who played music soundtracks of several rock artists for my class, included was The Who's Tommy which I remembered immediately. Three years later, this movie came out directed by Ken Russell. I didn't get it at all. I loved the new soundtrack, still do. I loved the performances in the movie by Elton John and Tina Turner. But as a young teen, the movie I didn't get. Well, 20 years went by and on cable I saw Tommy again. This time, I got it. I understood what Ken Russell's vision was and for 1975 it was WAY ahead of its time. It is, in fact, a brilliant masterpiece of 20th Century pop culture: a brave, warped and cartoon mixture of sex, violence, war, religion and celebrity worship with the backdrop of one heck of a rock opera and story by The Who but focusing on the burning questions...what IS the central focus in our lives? Do we choose to look up to the right thing in our lives? And what do they look up to? Do they understand the power they have? Do we? Tommy is an experience in film, not for everyone. Its "out there" but a vision in its tale.

This is a Ken Russell movie, make no mistake. It is relentlessly twisted, ugly, savage (for a sometimes humorous effect) and trippy. Russell may be the oldest flower child of all time. Surreal plot concerns a deaf-dumb-and-blind boy becoming the new Messiah to a pinball-crazed population, and the film has been accused of being too literal to The Who's rock opera source material. In this age of lavish music videos, it has also been tagged as archaic. Though nobody seems to care anymore how a film was perceived in its time, I would say the picture still succeeds in doing what was originally intended: shake an audience up with freaky visuals and propulsive music (nicely arranged). It also does something else: creates actual characters from the music, a plus due in part to the fine acting of Ann-Margret as Tommy's glamorous mother, Roger Daltrey as Tommy, Oliver Reed as Tommy's stepfather (Reed is hammy but quite game, while the role is designed as both a villain and a hero), and Tina Turner, an extremely scary presence as the Acid Queen. "Tommy" has some bummer scenes, and Russell's love for degradation occasionally made me wince, but it is a real cinematic experience. Whether it involves or alienates the viewer depends on their appreciation for the English director's constant penchant for the bizarre. **1/2 from ****

This movie is all over the place. Ken Russell's penchant for garishness and bad taste runs rampant throughout the film, and the imagery consequently gives the film a very surrealistic feel (when it doesn't simply just get too weird for its' own good which it most definitely does indeed do at times). It should also be said that some of the casting is questionable to say the least. Jack Nicholson should never, ever have taken this role. His cameo is short, but rather painful to watch. Not to mention painful to listen to. And Oliver Reed? Think ham. He must have had a ball doing this movie, though. But in an odd sort of way, he fits in the role of Frank like a glove. Watch the movie, and you'll see what I mean. Just don't ask him to sing at your wedding. You'll regret it. Deeply. And plot? Almost none here to be found. At least none that cannot be easily summarized in two or three pithy sentences. That being said, I know I didn't go to see it in the seventies because I thought I was going to see Oscar caliber performances or a tight and thoughtful script. I went to see it because of the music. And it still holds up well to this day because of that. The music still carries the day. Tommy is one of The Who's best and shining moments. And between the songs, some of the performances shine..... just enough to make this a worthwhile viewing. But God help you if you go into this expecting anything approaching serious cinema. You will be seriously and grievously disappointed. Tommy is mostly played off as camp and is meant to be that way.

Best performances...... Elton John as the pinball wizard, (who does so well in this that I think he decided afterwards to retire from making movies while he was still ahead) while Ann Margret chews up the scenery much better than I had certainly expected, and Tina Turner as the Acid Queen gives a performance in a cameo that you have to see to believe. Paul Stevens as Cousin Kevin also gives an energetic turn in a rare (for this movie) comedic moment.

I give it 7 out of 10. Too flawed to be a classic, but definitely a solid piece of work overall. You may never look at another body pillow without pork and beans and Ann Margret springing immediately to mind ever again.