Tommy

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 ****

I will say that the movie version of "Tommy" is not as good as The Who's original opera. I guess that it's hard to adapt something like that to the silver screen. But even so, this movie is an experience unlike any other. Watching it, you try to figure out how to digest all that you're seeing and make sense of it (although I would reject calling it sensory overload).

The plot of course has deaf, dumb, blind Tommy Walker (Roger Daltrey) becoming a pinball champion and developing a cult following. Daltrey has no trouble getting into the role, especially when he sings "I'm Free". Equally good - and quite perceptive - is Ann-Margret as his mother Nora, using his celebrity to enrich herself; I really liked the scene where she hallucinates soap, beans and chocolate pouring out of the TV set. Oliver Reed seems a little bit wooden as Frank, whom Nora marries when she hears that her husband has gotten killed in WWII, but he still passes. Tina Turner really goes over the top as the Acid Queen, who tries to cure Tommy. Elton John is OK as the Pinball Wizard, but I guess that anyone could have done that role. Probably the most surprising cast member is Jack Nicholson as The Specialist; I mean, who would have ever imagined Jack Nicholson of all people in a musical?* Peter Townshend, John Entwistle and Keith Moon also appear.

All in all, director Ken Russell instills this movie with the same sensibility that we find in the rest of his movies. Maybe it seemed better in the cinema, with its quintaphonic sound. But it's still something that I recommend to everyone. In conclusion: See it...feel it...touch it...heal it.

*Just imagine musical versions of "Five Easy Pieces", "One Flew Over the Cuckoo's Nest", "The Shining" and "As Good As It Gets"!

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.

I first came across Tommy when I saw the West End theatre production about 10 years ago, and I instantly fell in love with the music and the plot. However, at the time I was only 11 years old and couldn't really appreciate the many levels to Tommy. I did watch the film pretty soon after but was constantly comparing it to the show and to me it didn't even come close.

Now I'm a little older (and hopefully wiser), I have watched the film a lot in the past couple of years and all I can say is WOW! The music is fantastic, Pete Townshend is a genius, and the way he uses it to tell the story is awesome. When you listen to the original Who album a lot is left open to the imagination as regards plot, and I think its important to realise that Ken Russell's film version is merely one interpretation of the story told by the music.

Having not seen any of Russell's other work, it's impossible for me to say that this is typical of him. However, what I will say is that the imagery he uses in the film really does spark a lot of interest, for example the hypocrisy of organised religion and icon worship (particularly when Tommy causes Marlyin Monroe to crash to the floor after the rest of the church have been "brainwashed" by the priests).

A lot of people criticise the film for its cast, particularly Oliver Reed and Jack Nicholsons' debatable singing abilities. However I feel that this only adds to the sleaziness of their characters, especially Reed's - I think if he was note perfect it would be out of character. I think Ann Margret is fantastic as Nora - it's obvious that as Tommy's mother she feels torn between the love for her son and the love for fame and money, and she portrays that really well. As for Roger Daltrey, what a voice and what a body!!

I think it's important not to take the film too seriously though, like I said it's just one interpretation. I feel that "Tommy" as a whole - the music, words, story etc can only be fully appreciated if you listen to and watch as many versions as you can in order to make your own opinion of it.

Anybody who is curious about the therapeutic value of watching a really REALLY bad film should consider an experience I had when I was a student and attended a screening of 'Tommy' at the Sheffield Odeon.

I was at a very low ebb, but Mr Russell's film was so flamboyantly crass it accomplished what had seemed to me the impossible feat of curing me of my malaise and actually cheering me up.

I particularly savoured the performances of Keith Moon and by Ann-Margaret, who although up against the likes of Robert Powell, Oliver Reed and Jack Nicholson, distinguished herself by her considerable improvement both as a woman and as an actress to the tune of an Academy Award nomination.