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.
229 Reviews
An Introduction to Opera for Pop Fans
mstomaso1 February 2009
Anybody generally familiar with opera will immediately recognize that the Who's Tommy suffers from neither a weak nor outrageous nor terribly surreal nor even bizarre storyline in comparison to what passes for plot in many classic operas.
And anybody generally familiar with 1970s cinema will note that Ken Russell's envisioning of this film was actually one of a very small handful of intelligent and serious musicals produced during that decade, not a psychedelic experiment or a contribution to the avant-garde.
Many of the less complementary comments offered here on IMDb concerning this movie appear to be driven by commenters' personal opinions or prejudices about The Who or about Ken Russel, and seem to have very little to do with this film.
In 1969, The Who released their wildly innovative breakthrough album "Tommy". Written almost entirely by 23-year old Pete Townshend, Tommy was, like many albums of its time, an early example of album-oriented rock. But unlike similarly assembled LPs by the likes of Pink Floyd, Jefferson Airplane, The Beatles, etc., Tommy told a story through music and lyrics.
Tommy knew his father - Captain Walker - mainly through the photograph which has stood on the nightstand next to his bed all of his young life. His mother, Nora (Ann Margaret), a war widow, has shacked up with "Uncle Frank", a well-off and well-intentioned but rather low-brow gentleman (Oliver Reed). One night, Captain Walker comes home to find his beloved wife in bed with Uncle Frank, and Uncle Frank, in a panic, kills him. Tommy witnesses this and Nora and Frank expand the trauma by shouting silence and near-catatonic autism into the young boy with the classic lines "You didn't hear it, you didn't see it, you won't say nothing to no one, never tell a soul... what you know is the truth."
So Tommy grows up in a state of trauma-induced deafness, muteness and blindness. Guilt and sincere love drive his mother and her new husband Frank to seek every possible cure, and Townshend (and Russel) waste no opportunity to skewer religion, medical science, traditional family dynamics, and testosterone-influenced views of sexual rites of passage.
Eventually, Tommy and his mother will find their own cures - in quite unexpected places. And Tommy will offer his apparently miraculous awareness to the rest of the world as a universal form of salvation.
Although the medium of the album and the film is rock music, Tommy strings together many of the most powerful elements of classical opera. Religion plays an important, though atypical, role in Townshend's story. Allegory is a key to understanding the entire process. And both the lyrics and the film incorporate widespread and often incisive social criticism - touching on broad intellectual themes such as the escape from freedom, the subjectivity of truth, and the inherent futility and silliness of most efforts to improve the lot of humanity.
If you let yourself 'go with it' Tommy will likely take you places you've never been. I won't promise that you will like it, but rather, that if you keep your mind open and let it pour in, like most operas, Tommy will move you.
WITH REGARD TO THE FILM:
Facing a nearly impossible task, Ken Russel enlisted Townshend, Daltrey, and a host of very talented and popular musicians and actors to make Tommy. Most of the time, this works - Ann Margaret, Roger Daltrey, and cameos by Jack Nicholson, Elton John, Tina Turner and Keith Moon are all outstanding. Unfortunately, Oliver Reed, as well-cast as he was, has no vocal talent to speak of, and Eric Clapton has the on-screen charisma of a desk lamp.
Despite the common 21st century wisdom concerning the amount of experimentalism in 1970s films, films like Tommy, Rollerball, Deathrace 2000, French Connection, Solyaris, 2001, etc, were actually very few and far between during that decade. In fact, most of the films released in the 1970s were so uninventive and uninteresting that they can only be found on public domain download sites and budget mega-pack DVD sets.
Although Russell was a shoe-in for directing this film - given his longstanding interest in visualization of classical music (http://pro.imdb.com/name/nm0001692/) and more challenging subjects, Tommy was - even for Russell - a wildly innovative film:
a singing cast tells the story, set against The Who's original music, and Russell's visual story-telling is as powerful and striking here as it was in Gothic and many of his better-known films. Oliver Reed's bellowing vocalizations are a bit overbearing, and too much synthesizer is added to embellish a score which was 6-years old by the time the film was released. But the problems with the sound track are at least partly made-up for by fabulously campy musical cameos by Tina Turner and Elton John, and - FINALLY - by Daltrey's excellent performance once Tommy himself gains a voice. Ann Margaret's singing is also quite good, but, unfortunately, several of her songs are infected by Reed's brutish howling.
All considered Tommy is a must-see for open-minded film enthusiasts, and particularly those interested in the evolution of the modern musical.
Recommended.
And anybody generally familiar with 1970s cinema will note that Ken Russell's envisioning of this film was actually one of a very small handful of intelligent and serious musicals produced during that decade, not a psychedelic experiment or a contribution to the avant-garde.
Many of the less complementary comments offered here on IMDb concerning this movie appear to be driven by commenters' personal opinions or prejudices about The Who or about Ken Russel, and seem to have very little to do with this film.
In 1969, The Who released their wildly innovative breakthrough album "Tommy". Written almost entirely by 23-year old Pete Townshend, Tommy was, like many albums of its time, an early example of album-oriented rock. But unlike similarly assembled LPs by the likes of Pink Floyd, Jefferson Airplane, The Beatles, etc., Tommy told a story through music and lyrics.
Tommy knew his father - Captain Walker - mainly through the photograph which has stood on the nightstand next to his bed all of his young life. His mother, Nora (Ann Margaret), a war widow, has shacked up with "Uncle Frank", a well-off and well-intentioned but rather low-brow gentleman (Oliver Reed). One night, Captain Walker comes home to find his beloved wife in bed with Uncle Frank, and Uncle Frank, in a panic, kills him. Tommy witnesses this and Nora and Frank expand the trauma by shouting silence and near-catatonic autism into the young boy with the classic lines "You didn't hear it, you didn't see it, you won't say nothing to no one, never tell a soul... what you know is the truth."
So Tommy grows up in a state of trauma-induced deafness, muteness and blindness. Guilt and sincere love drive his mother and her new husband Frank to seek every possible cure, and Townshend (and Russel) waste no opportunity to skewer religion, medical science, traditional family dynamics, and testosterone-influenced views of sexual rites of passage.
Eventually, Tommy and his mother will find their own cures - in quite unexpected places. And Tommy will offer his apparently miraculous awareness to the rest of the world as a universal form of salvation.
Although the medium of the album and the film is rock music, Tommy strings together many of the most powerful elements of classical opera. Religion plays an important, though atypical, role in Townshend's story. Allegory is a key to understanding the entire process. And both the lyrics and the film incorporate widespread and often incisive social criticism - touching on broad intellectual themes such as the escape from freedom, the subjectivity of truth, and the inherent futility and silliness of most efforts to improve the lot of humanity.
If you let yourself 'go with it' Tommy will likely take you places you've never been. I won't promise that you will like it, but rather, that if you keep your mind open and let it pour in, like most operas, Tommy will move you.
WITH REGARD TO THE FILM:
Facing a nearly impossible task, Ken Russel enlisted Townshend, Daltrey, and a host of very talented and popular musicians and actors to make Tommy. Most of the time, this works - Ann Margaret, Roger Daltrey, and cameos by Jack Nicholson, Elton John, Tina Turner and Keith Moon are all outstanding. Unfortunately, Oliver Reed, as well-cast as he was, has no vocal talent to speak of, and Eric Clapton has the on-screen charisma of a desk lamp.
Despite the common 21st century wisdom concerning the amount of experimentalism in 1970s films, films like Tommy, Rollerball, Deathrace 2000, French Connection, Solyaris, 2001, etc, were actually very few and far between during that decade. In fact, most of the films released in the 1970s were so uninventive and uninteresting that they can only be found on public domain download sites and budget mega-pack DVD sets.
Although Russell was a shoe-in for directing this film - given his longstanding interest in visualization of classical music (http://pro.imdb.com/name/nm0001692/) and more challenging subjects, Tommy was - even for Russell - a wildly innovative film:
- NO DIALOGUE -
a singing cast tells the story, set against The Who's original music, and Russell's visual story-telling is as powerful and striking here as it was in Gothic and many of his better-known films. Oliver Reed's bellowing vocalizations are a bit overbearing, and too much synthesizer is added to embellish a score which was 6-years old by the time the film was released. But the problems with the sound track are at least partly made-up for by fabulously campy musical cameos by Tina Turner and Elton John, and - FINALLY - by Daltrey's excellent performance once Tommy himself gains a voice. Ann Margaret's singing is also quite good, but, unfortunately, several of her songs are infected by Reed's brutish howling.
All considered Tommy is a must-see for open-minded film enthusiasts, and particularly those interested in the evolution of the modern musical.
Recommended.
The Weird World of Ken Russell: Tommy
Captain_Couth30 July 2005
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.
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.
A cult classic if ever there was one. You'll either love it, or hate it.
speleorat200313 July 2005
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.
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.
A fun if overblown rock opera with a cult following, shambolic plot with obvious attacks on religion and an eclectic cast
bob the moo27 June 2004
When her husband is lost in WWII, Nora Walker is left with an unborn baby to raise by herself. Years later she has a fantastic son, Tommy, and is being courted by 'Uncle' Franks Hobbs. However when Tommy sees Frank and his mother killing his real father, he becomes psychosomatically deaf, dumb and blind. This way he stays all the way through to adulthood regardless of what his mother tries to get him cured. Running away from home one night, Tommy finds himself in a junkyard where he finds an old pinball machine and begins to play it. When he turns out to be a natural born wizard on the pinball table it not only leads him to a cure but also causes a religious following to spring up around him.
Being born in the 1970's and not really being a retro type of person, I have never gotten into The Who but I am always willing to give a film a try no matter what period it is from or what genre it is. I approached Tommy with hesitancy aware that I may not like the music and that it had a reputation for being all over the place. Well, suffice to say that the latter is certainly true and if you're coming here looking for structure or decent plotting then you'll be not only disappointed but also a touch bewildered! The basic plot is an obvious swipe at religion and, as such, I'm rather surprised this film doesn't have a legacy of Catholic protests (it may do but usually things like that stick with a film forever, like Life of Brian) following it given the amount of religious imagery in it. It doesn't totally work as it isn't clever enough to be really interesting or sharp enough to serve as a clever attack at religion. However it still manages to be great overblown fun from pretty much start to finish.
Credit where credit is due, Ken Russell doesn't run the risk of being remembered as someone who suffered in moderation no, if he can have Ann Margaret rolling round on the floor then why not cover her in tinned food product? To that end his direction is relentlessly over the top and it actually helps the material because the plot and music are both over the top and revelling in 1970's excesses. It is never funny in a comedy sense but it is fun in the same way as going to a big show like Rock Horror can be, it's hard not to get caught up in the music, performances and sights of the film as everyone is really overdoing it and it's fun! Not being a fan of The Who, I was still won over by the music here like a west end show mixed with rock and served on top of sliced ham, it is catchy, overblown and enjoyable to listen to. The cast also help and all manage to deliver their lines well even if some of them are not singers as their day jobs.
In fact the cast is a big part of this film working quite as well as it did their performances mostly match the overblown feel of the film. Daltry isn't a great actor but he does well here apart from the odd slip up. Ann Margaret chews the scenery with every chance and her performance is memorable (and I think was Oscar nominated but I may be wrong). Reed hams it up like a good'un and appears to be enjoying himself immensely although given the people involved in this film and the legendary habits he had I would not be surprised if it was something other than the film itself that gave him that lecherous leer! The real gold in the film though is a collection of cameos that may not all work but all add to the film: Tina Turner IS The Acid Queen, Elton John gets the best song of the film, Clapton doesn't make as much of an impression as I would have liked and the presence of Jack Nicholson is as good as it is surprising!
Overall this is a silly, shambolic film that makes very little sense and is not clever enough to make the points about religion that it tries to. However it is overblown, musical and fun to watch with a great collection of people from the period in small roles all through the film. It may frustrate many, which is why it is a 'cult' film as opposed to a classic hit but, for all it's flaws, I found it enjoyable and fun in a big silly OTT way!
Being born in the 1970's and not really being a retro type of person, I have never gotten into The Who but I am always willing to give a film a try no matter what period it is from or what genre it is. I approached Tommy with hesitancy aware that I may not like the music and that it had a reputation for being all over the place. Well, suffice to say that the latter is certainly true and if you're coming here looking for structure or decent plotting then you'll be not only disappointed but also a touch bewildered! The basic plot is an obvious swipe at religion and, as such, I'm rather surprised this film doesn't have a legacy of Catholic protests (it may do but usually things like that stick with a film forever, like Life of Brian) following it given the amount of religious imagery in it. It doesn't totally work as it isn't clever enough to be really interesting or sharp enough to serve as a clever attack at religion. However it still manages to be great overblown fun from pretty much start to finish.
Credit where credit is due, Ken Russell doesn't run the risk of being remembered as someone who suffered in moderation no, if he can have Ann Margaret rolling round on the floor then why not cover her in tinned food product? To that end his direction is relentlessly over the top and it actually helps the material because the plot and music are both over the top and revelling in 1970's excesses. It is never funny in a comedy sense but it is fun in the same way as going to a big show like Rock Horror can be, it's hard not to get caught up in the music, performances and sights of the film as everyone is really overdoing it and it's fun! Not being a fan of The Who, I was still won over by the music here like a west end show mixed with rock and served on top of sliced ham, it is catchy, overblown and enjoyable to listen to. The cast also help and all manage to deliver their lines well even if some of them are not singers as their day jobs.
In fact the cast is a big part of this film working quite as well as it did their performances mostly match the overblown feel of the film. Daltry isn't a great actor but he does well here apart from the odd slip up. Ann Margaret chews the scenery with every chance and her performance is memorable (and I think was Oscar nominated but I may be wrong). Reed hams it up like a good'un and appears to be enjoying himself immensely although given the people involved in this film and the legendary habits he had I would not be surprised if it was something other than the film itself that gave him that lecherous leer! The real gold in the film though is a collection of cameos that may not all work but all add to the film: Tina Turner IS The Acid Queen, Elton John gets the best song of the film, Clapton doesn't make as much of an impression as I would have liked and the presence of Jack Nicholson is as good as it is surprising!
Overall this is a silly, shambolic film that makes very little sense and is not clever enough to make the points about religion that it tries to. However it is overblown, musical and fun to watch with a great collection of people from the period in small roles all through the film. It may frustrate many, which is why it is a 'cult' film as opposed to a classic hit but, for all it's flaws, I found it enjoyable and fun in a big silly OTT way!
It helps to have an appreciation for Ken Russell, not Pete Townsend
moonspinner5529 June 2001
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 ****
A crazy but wonderful interpretation of a legend's music
sev12717 May 2005
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.
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.
Your senses will never be the same...you can say that again!
lee_eisenberg10 August 2006
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"!
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"!
It's all in the music!
jrs-82 August 2004
It's been interesting reading all the reviews here for this movie. It seems you either love or hate "Tommy". I find it odd that you could completely hate a movie with the music of "Tommy". If you love the songs there has to be something about it then right?
I happen to be an admirer of the film. It's not a masterpiece but it succeeds more then it fails. Director Ken Russell has brought his weird sensibilities and ideas to the film and made it more a series of scenes then a coherent story. Yes it is bizarre. Yes it is odd. But the music keeps the film alive and flowing.
It seems apparent that Russell the director may have let some scenes run on a bit too long (the Marilyn Monroe worship scene for one), perhaps because he was bereft of ideas. But he always had the music.
The performances range from terrific to downright awful. Ann Margret is the best thing about this movie. Her Oscar nomination was more then deserving. Her fabulous voice went well with the songs she is asked to perform. Oliver Reed was always a dependable performer but he can't sing worth a lick. Either he should have been dubbed or the part re-cast. Roger Daltrey is just fine in the title role. Basically all he does is sing and smile. For the female fans out there he does go shirtless a lot as well.
There are many cameos in the film worth noting. All the members of The Who are seen though only Keith Moon has a role to speak of. Pete Townshend and John Entwistle are relegated to performing on stage in the worship scene. Tina Turner is the Acid Queen in a bizarre scene that doesn't quite work. Jack Nicholson (and this may be the only time this can be said about him) may be the worst thing in the whole movie. His role as a doctor is short but not so sweet. He sings but is a terrible singer. It's an embarrassing scene and no surprise that he never mentions this role. Paul Nicholas, as cousin Kevin, who babysits Tommy and subsequently tortures him is terrific.
On the whole most of the sequences work. For me the two best sequences are the pinball wizard tournament (with Elton John) and the making of a groupie sequence. And just remember, it's all in the music.
I happen to be an admirer of the film. It's not a masterpiece but it succeeds more then it fails. Director Ken Russell has brought his weird sensibilities and ideas to the film and made it more a series of scenes then a coherent story. Yes it is bizarre. Yes it is odd. But the music keeps the film alive and flowing.
It seems apparent that Russell the director may have let some scenes run on a bit too long (the Marilyn Monroe worship scene for one), perhaps because he was bereft of ideas. But he always had the music.
The performances range from terrific to downright awful. Ann Margret is the best thing about this movie. Her Oscar nomination was more then deserving. Her fabulous voice went well with the songs she is asked to perform. Oliver Reed was always a dependable performer but he can't sing worth a lick. Either he should have been dubbed or the part re-cast. Roger Daltrey is just fine in the title role. Basically all he does is sing and smile. For the female fans out there he does go shirtless a lot as well.
There are many cameos in the film worth noting. All the members of The Who are seen though only Keith Moon has a role to speak of. Pete Townshend and John Entwistle are relegated to performing on stage in the worship scene. Tina Turner is the Acid Queen in a bizarre scene that doesn't quite work. Jack Nicholson (and this may be the only time this can be said about him) may be the worst thing in the whole movie. His role as a doctor is short but not so sweet. He sings but is a terrible singer. It's an embarrassing scene and no surprise that he never mentions this role. Paul Nicholas, as cousin Kevin, who babysits Tommy and subsequently tortures him is terrific.
On the whole most of the sequences work. For me the two best sequences are the pinball wizard tournament (with Elton John) and the making of a groupie sequence. And just remember, it's all in the music.
rock opera
SnoopyStyle5 January 2020
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 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.
The most uniquely bad movie I've ever seen
ignatz92815 June 2005
This is probably not the best movie to start watching after a busy day at 10:30 P.M. Even though I had already heard the Who's original album, I was still completely unprepared for the sensory assault mounted by the film's director, Ken Russell. Every scene is a kaleidoscopic frenzy of garish and bizarre images, most filled with hilariously obvious symbolism (which the college kids watching the film with me seemed to enjoy pointing out), and reinforced by the Who's music, which runs throughout the movie at top volume and with barely any interruption. It's also badly dubbed to the actor's lip movements, which only adds to the overall strangeness. Russell seems particularly fond of having the actors degrade themselves- one long sequence shows Tommy being abused by his sadistic cousin and his perverted uncle. In another scene, involving Ann-Margret as his mother, champagne and baked beans erupt out of a TV and fill an immaculately white room. Following the lead of the original album, Russell seems to be trying to make some kind of satirical statement on organized religion, but the whole thing is so over-the-top and bears such little relationship to any reality that the attempts at commentary wind up as empty as the rest of the film. Russell's dubious accomplishment basically consists of having created the world's longest and noisiest music video.
Fantastic Rock Opera!
KP-Nuts5 July 2004
I first saw this movie a few years back whilst going through my Uncle's collection of records, tapes and videos etc. To be fair I was fairly sceptical about the prospect of spending at Saturday night drinking and watching a musical film involving "The Who" (a band I had obviously heard of, but not actually really listened too) with my Uncle. However my Uncle has great taste in music and has introduced me to many great bands and albums over the years, especially 60's rock music.
I think my initial reaction to the film was it had some great scenes, mixing fantastic music with iconic imagery, some very interesting cast members, and a very strange dark humour throughout most of it.
The scenes which I were first really drawn to were 1951/what about the boy? (whether Oliver Reed can sing or not without severe editing, he fits his part perfectly and both he and Ann-Margaret shine during this scene), Acid Queen (an amazing performance by Tina Turner) and Amazing Journey.
Due to enjoying these songs/scenes so much I revisited the film a few times and then really found the true depth of the movie. The songs are top notch, with the above mentioned and others such as Christmas, Pinball Wizard, I'm Free, Sally Simpson and Listening To You amongst the best. Every scene is almost mesmerising in it's own way (apart from Eyesight to the blind, although I love Eric Clapton, I just do not enjoy this part at all).
I had been looking for this on DVD for sometime, and in the meantime had purchased the original CD (interesting how some songs are better on the CD whilst others translate better in the movie) as a substitute. I was of course extremely pleased at the recent 2 Disc Collectors Edition release and did not hesitate to make my purchase.
OK, the story is not your run of the mill, easy to understand type and I think it is open to all kinds of interpretations, the main thing is the movie is a visual and musical feast almost like an extended ultra good pop video.
I think my initial reaction to the film was it had some great scenes, mixing fantastic music with iconic imagery, some very interesting cast members, and a very strange dark humour throughout most of it.
The scenes which I were first really drawn to were 1951/what about the boy? (whether Oliver Reed can sing or not without severe editing, he fits his part perfectly and both he and Ann-Margaret shine during this scene), Acid Queen (an amazing performance by Tina Turner) and Amazing Journey.
Due to enjoying these songs/scenes so much I revisited the film a few times and then really found the true depth of the movie. The songs are top notch, with the above mentioned and others such as Christmas, Pinball Wizard, I'm Free, Sally Simpson and Listening To You amongst the best. Every scene is almost mesmerising in it's own way (apart from Eyesight to the blind, although I love Eric Clapton, I just do not enjoy this part at all).
I had been looking for this on DVD for sometime, and in the meantime had purchased the original CD (interesting how some songs are better on the CD whilst others translate better in the movie) as a substitute. I was of course extremely pleased at the recent 2 Disc Collectors Edition release and did not hesitate to make my purchase.
OK, the story is not your run of the mill, easy to understand type and I think it is open to all kinds of interpretations, the main thing is the movie is a visual and musical feast almost like an extended ultra good pop video.
A great musical movie. Loads of fun.
theshadow90816 September 2006
Tommy tells the story of a woman who loses her husband in the war and gives birth to their son soon after. Six years later she falls for a new man, but Captain Walker returns home, having been in a POW camp for years. Mrs. Walker's new love kills the boy's father right in front of him, and together they drill into him that he didn't see it, he didn't hear it, and he won't say nothing to no one ever in his life. This causes the boy to fall deaf, dumb, and blind, much to his mother's bewilderment. The movie follows his adventures from the strange attempts at curing him (including drugs and cult worship), and the torture he endures (a sadistic cousin and a perverted uncle), all the way to when he becomes a pinball champion, and becomes such a celebrity that he even starts a religion. Based on the 1969 concept album by The Who, Tommy tells a good story and is loads of fun to watch.
Tommy is a great musical film because it has what musicals need to be successful...Great music. The Who's album Tommy is an amazing album with some really great songs. It is credited as being the first rock opera ever written. The plot line of the album is vague, and you're forced to make guesses, but here in this movie you can get the whole story. The music in the movie is different from the album. It features more instruments, including synthesizer, which I love. Every song in the movie makes you bob your head and tap your feet. The sets and the story are very good. The movie features some really weird imagery in some scenes, but it makes the movie fun. I only have one real problem with the film. The first half of the film is a blast. The awesome songs and characters (my favourite being Cousin Kevin), the great story, everything. However, once the Pinball Wizard scene is over, the movie begins to drag ever so slightly, but when Tommy is cured and starts his own religion, the movie begins to grow too long. I would have liked it better if the movie ended with Tommy being cured. All the fun is gone once Tommy is cured.
The performances in this movie are great for the most part. There are some really great singers and actors involved in this movie. Oliver Reed and Ann-Margaret give great performances as Tommy's parents, though Reed can't really sing. Elton John and Keith Moon give memorable and hilarious performances as the Pinball Wizard and Uncle Ernie. Jack Nicholson did pretty good as the Doctor for someone who's not a singer. Eric Clapton and Tina Turner did good in their roles as well. Roger Daltrey was the perfect Tommy even though all he had to do was stare with a blank look on his face.
Overall, Tommy is a great 70's musical with fantastic performances, but after a while it starts to lose momentum. There might be some boredom near the end.
7/10
Tommy is a great musical film because it has what musicals need to be successful...Great music. The Who's album Tommy is an amazing album with some really great songs. It is credited as being the first rock opera ever written. The plot line of the album is vague, and you're forced to make guesses, but here in this movie you can get the whole story. The music in the movie is different from the album. It features more instruments, including synthesizer, which I love. Every song in the movie makes you bob your head and tap your feet. The sets and the story are very good. The movie features some really weird imagery in some scenes, but it makes the movie fun. I only have one real problem with the film. The first half of the film is a blast. The awesome songs and characters (my favourite being Cousin Kevin), the great story, everything. However, once the Pinball Wizard scene is over, the movie begins to drag ever so slightly, but when Tommy is cured and starts his own religion, the movie begins to grow too long. I would have liked it better if the movie ended with Tommy being cured. All the fun is gone once Tommy is cured.
The performances in this movie are great for the most part. There are some really great singers and actors involved in this movie. Oliver Reed and Ann-Margaret give great performances as Tommy's parents, though Reed can't really sing. Elton John and Keith Moon give memorable and hilarious performances as the Pinball Wizard and Uncle Ernie. Jack Nicholson did pretty good as the Doctor for someone who's not a singer. Eric Clapton and Tina Turner did good in their roles as well. Roger Daltrey was the perfect Tommy even though all he had to do was stare with a blank look on his face.
Overall, Tommy is a great 70's musical with fantastic performances, but after a while it starts to lose momentum. There might be some boredom near the end.
7/10
Snapshot of angst-ridden early '70s Britain in bizarre Christ allegory
pwfinch8 April 2007
Warning: Spoilers
The Who weren't known for making subtle music, and Ken Russell makes anything but subtle movies. Put the two together to tell the story of a very underprivileged child, who one day emerges as a self-proclaimed messiah trying to preach an impossible message, only to be ruthlessly exploited and viciously attacked, before finally crawling from his tomb and ascending to the celestial realm, his job done, and you've got an extravaganza of sound and cinema just waiting to explode on your screen.
So why does it not work very well?
As far as I can see, they simply try to cram too much into it. As if the religious theme isn't enough, it touches on many of the problems starting to tear secular society apart in the early 1970s drugs, drunkenness, child abuse, pornography gambling, gang violence, dishonesty, etc, all played out against a kaleidoscopic backdrop of churches, scrap heaps, tatty holiday camps and beautiful Lake District mountains.
Despite an admiration for the central message of hope and spiritual purity, there is deep criticism of the abuses inflicted by organised religious groups this movie abounds with false prophets and money-making evangelism.
It's also, in vintage Russell style, garish, unnecessarily lurid, and filled with pretentious, surreal imagery, and though Pete Townshend's soundtrack contains one or two classics PINBALL WIZARD and I'M FREE, to name but two much of it is forced and rather shrill (and is way too long many purely musical moments could have been cut in half or removed altogether).
Performance-wise, Ann-Margret is by far the best thing in it. She sings and dances the house down as Tommy's sultry mother, remaining lithe and curvaceous through various incarnations, from homely '50s housewife, to '60s tart, to '70s glam queen, finally dying stripped of all adornments on her own cross a broken pinball machine. As the other 'thief', Oliver Reed a Russell regular can't sing for toffee, yet succeeds in evoking some sympathy for a character who in lesser hands would simply be a brutish villain. That leaves Roger Daltrey as the other main lead, the titular Tommy, and there's not a lot he can do, being deaf, dumb and blind for at least half the film, and for the rest doing what he normally did as lead-singer of a rock band, which is entertain massive crowds with grandiose and overblown songs. However, his first appearance jars the film badly; even for a Ken Russell movie, it's asking too much of the audience to accept Tommy's sudden transformation from World War Two runt, complete with a tank top and short back and sides, to a tanned, muscular hippie with bleached blonde hair and pearly-white teeth.
In terms of secondary characters, it's a mixed bag. Elton John gives an ordinary and overrated performance as the Pinball Wizard (his version of the song is, in truth, nowhere near as good as The Who's own), Eric Clapton lacks any charisma as a charlatan preacher and Jack Nicholson is completely wasted (but awful even in the short time he's on screen) as a money-grabbing doctor. Better by far are Tina Turner, whose Acid Queen is sexy but also disturbingly weird, Keith Moon, who's in predictably odious form as Uncle Ernie, and best of all for me, Paul Nicholas as Tommy's gleefully maniacal Cousin Kevin.
As rock operas go, this one is strictly second division, so in terms of movie musicals in general, it's way down the list. However, it packs energy and certainly, if it's the first time you've seen it, makes for compelling viewing much the way a freak-show would, if I'm honest, though there is a lot of talent on show as well, and it's worth watching at least once just for that (and for Ann-Margret, wearing tight clothes that are already semi-transparent, and then rolling around in a mess of beans and chocolate, but that's a different matter).
So why does it not work very well?
As far as I can see, they simply try to cram too much into it. As if the religious theme isn't enough, it touches on many of the problems starting to tear secular society apart in the early 1970s drugs, drunkenness, child abuse, pornography gambling, gang violence, dishonesty, etc, all played out against a kaleidoscopic backdrop of churches, scrap heaps, tatty holiday camps and beautiful Lake District mountains.
Despite an admiration for the central message of hope and spiritual purity, there is deep criticism of the abuses inflicted by organised religious groups this movie abounds with false prophets and money-making evangelism.
It's also, in vintage Russell style, garish, unnecessarily lurid, and filled with pretentious, surreal imagery, and though Pete Townshend's soundtrack contains one or two classics PINBALL WIZARD and I'M FREE, to name but two much of it is forced and rather shrill (and is way too long many purely musical moments could have been cut in half or removed altogether).
Performance-wise, Ann-Margret is by far the best thing in it. She sings and dances the house down as Tommy's sultry mother, remaining lithe and curvaceous through various incarnations, from homely '50s housewife, to '60s tart, to '70s glam queen, finally dying stripped of all adornments on her own cross a broken pinball machine. As the other 'thief', Oliver Reed a Russell regular can't sing for toffee, yet succeeds in evoking some sympathy for a character who in lesser hands would simply be a brutish villain. That leaves Roger Daltrey as the other main lead, the titular Tommy, and there's not a lot he can do, being deaf, dumb and blind for at least half the film, and for the rest doing what he normally did as lead-singer of a rock band, which is entertain massive crowds with grandiose and overblown songs. However, his first appearance jars the film badly; even for a Ken Russell movie, it's asking too much of the audience to accept Tommy's sudden transformation from World War Two runt, complete with a tank top and short back and sides, to a tanned, muscular hippie with bleached blonde hair and pearly-white teeth.
In terms of secondary characters, it's a mixed bag. Elton John gives an ordinary and overrated performance as the Pinball Wizard (his version of the song is, in truth, nowhere near as good as The Who's own), Eric Clapton lacks any charisma as a charlatan preacher and Jack Nicholson is completely wasted (but awful even in the short time he's on screen) as a money-grabbing doctor. Better by far are Tina Turner, whose Acid Queen is sexy but also disturbingly weird, Keith Moon, who's in predictably odious form as Uncle Ernie, and best of all for me, Paul Nicholas as Tommy's gleefully maniacal Cousin Kevin.
As rock operas go, this one is strictly second division, so in terms of movie musicals in general, it's way down the list. However, it packs energy and certainly, if it's the first time you've seen it, makes for compelling viewing much the way a freak-show would, if I'm honest, though there is a lot of talent on show as well, and it's worth watching at least once just for that (and for Ann-Margret, wearing tight clothes that are already semi-transparent, and then rolling around in a mess of beans and chocolate, but that's a different matter).
A pretty enjoyable film... if you have context, that is.
thedoodler-4585812 January 2019
Warning: Spoilers
I'm a pretty big fan of The Who. I assume most who have seen this film are as well. And though I have listened through most of their albums, I haven't yet gotten to 1969's Tommy, what most call the first rock opera to ever come into existence. It wasn't until a couple days ago that I found out there was a film adaptation- and after watching the best quality trailer I could find, I just knew I had to have my friends watch it with me. It was confusing to the point of intrigue. All we had provided ourselves with was a premise: a blind, dumb, and deaf kid becomes a pinball wizard and starts a cult. An interesting story, to say the least.
So, my friends come over, and we all sit down and start it up. Right from the start, we're all puzzled as to what's happening in the film, as the first seven minutes or so has no talking (or singing I should say, considering this is an entirely musical film). And as the movie goes on, we just get more and more confused, though we did manage to find humour in it. The Marilyn Monroe cult, the strange scenes of Tommy aimlessly gazing at the mirror, Elton John's huge boots... it was all crazy. Though, as the film went on, the laughs died off, and we were all sort of waiting for it to be over. Now, yes, I know it's an adaptation of a double-disc rock opera so it has to be long, but after a while the ridiculousness of it all isn't really entertaining enough for you to actually sit through the whole thing. And while I was a little more forgiving towards the film for the first film, the moment Tommy regained his senses and began his cult the quality started to take a nosedive. However, I could certainly enjoy the first half.
After I bid my friends adieu, I decided to give the film a second look all on my own. I had gained the context of what was going on, and I assured myself that my experience would be heightened. And it was, though the second half still didn't sit well with me. Though, that's a fault on the original album's part, not the film's. When Tommy opened his mouth, the movie just lost me.
Tommy isn't really a bad film. It's not even a bad adaptation, really. It seems to be a movie intended for hardcore Who fans and people who have actually listened to the album. Without context, it can seem like a bit of a mess, which were my and my friends' thoughts after getting through it the first time.
If you ever want to watch the Tommy movie, read up about the source material first. Don't go in blind (no pun intended), it'll do you no good. If you dig The Who, psychedelic imagery, and stories about young blind, deaf, and dumb men mastering pinball and starting cults, this is the movie for you. It's not a classic by any means, but it can still be enjoyed nonetheless.
So, my friends come over, and we all sit down and start it up. Right from the start, we're all puzzled as to what's happening in the film, as the first seven minutes or so has no talking (or singing I should say, considering this is an entirely musical film). And as the movie goes on, we just get more and more confused, though we did manage to find humour in it. The Marilyn Monroe cult, the strange scenes of Tommy aimlessly gazing at the mirror, Elton John's huge boots... it was all crazy. Though, as the film went on, the laughs died off, and we were all sort of waiting for it to be over. Now, yes, I know it's an adaptation of a double-disc rock opera so it has to be long, but after a while the ridiculousness of it all isn't really entertaining enough for you to actually sit through the whole thing. And while I was a little more forgiving towards the film for the first film, the moment Tommy regained his senses and began his cult the quality started to take a nosedive. However, I could certainly enjoy the first half.
After I bid my friends adieu, I decided to give the film a second look all on my own. I had gained the context of what was going on, and I assured myself that my experience would be heightened. And it was, though the second half still didn't sit well with me. Though, that's a fault on the original album's part, not the film's. When Tommy opened his mouth, the movie just lost me.
Tommy isn't really a bad film. It's not even a bad adaptation, really. It seems to be a movie intended for hardcore Who fans and people who have actually listened to the album. Without context, it can seem like a bit of a mess, which were my and my friends' thoughts after getting through it the first time.
If you ever want to watch the Tommy movie, read up about the source material first. Don't go in blind (no pun intended), it'll do you no good. If you dig The Who, psychedelic imagery, and stories about young blind, deaf, and dumb men mastering pinball and starting cults, this is the movie for you. It's not a classic by any means, but it can still be enjoyed nonetheless.
A true taste of the '70s
s-dewitt14 January 2005
Tommy is one of those films I can watch again and again. I guess I first saw it when I was about 15, and what made most immediate impact was the music. Strident and tightly coupled to the plot. The Who are brilliant, and Elton John as the Pinball Wizard is just mind blowing (if slightly camp).
I have since watched it countless times and it wasn't til I watched it in, how shall I put this, an illegal state of mind, that I actually realised how well the film hangs together and it's real meaning. Up until then I mainly watched it for the music, but after that it became a whole different ballgame, and I watched it to extract more of what Ken Russell was really trying to get at.
Anyone younger than about 30 probably will not understand this film at all, but if you are of the right generation, see it a couple of times because you may not get the meaning the first viewing.
Several memorable performances - Elton John as the Pinball Wizard, Keith Moon as Uncle Ernie, Ann Margaret as Tommy's mother and - of course - Ollie Reed who has never done a bad film.
I have since watched it countless times and it wasn't til I watched it in, how shall I put this, an illegal state of mind, that I actually realised how well the film hangs together and it's real meaning. Up until then I mainly watched it for the music, but after that it became a whole different ballgame, and I watched it to extract more of what Ken Russell was really trying to get at.
Anyone younger than about 30 probably will not understand this film at all, but if you are of the right generation, see it a couple of times because you may not get the meaning the first viewing.
Several memorable performances - Elton John as the Pinball Wizard, Keith Moon as Uncle Ernie, Ann Margaret as Tommy's mother and - of course - Ollie Reed who has never done a bad film.
Oh no!
Superunknovvn20 December 2001
"Tommy" is such a great record. It is such an immortal piece of musical work. It is all the movie isn't. The film is just boring, unbearable. Oliver Reed singing is hell! And that whole 70ies feeling that clings to the film is just disgusting. Buy the record und condemn this movie. Watch "Quadrophenia" instead!
That was then, this is now.
Bry-222 January 2003
When this was released 27 years ago, it rivalled the Rocky Horror Picture Show and The Song Remains the Same as a wonderful way to spend a Saturday midnight. Only RHPS seems to be remembered now -- and for good cause. It's not stylistically stuck in the '70s -- which was a bloody awful time to be stylistically stuck!
But Tommy is not bad. Dated, true, and it still pains one to hear Jack Nicholson "sing," but it did then, too. Elton John's Pinball Wizard remains a wonder to behold.
The performances, by and large, don't match those in the original album, but they're not nearly so far off as they could have been. Tina Turner's Acid Queen is as good as Roger Daltry's, nearly.
As a time capsule, Tommy is wonderful. Timeless? No. But still fun.
But Tommy is not bad. Dated, true, and it still pains one to hear Jack Nicholson "sing," but it did then, too. Elton John's Pinball Wizard remains a wonder to behold.
The performances, by and large, don't match those in the original album, but they're not nearly so far off as they could have been. Tina Turner's Acid Queen is as good as Roger Daltry's, nearly.
As a time capsule, Tommy is wonderful. Timeless? No. But still fun.
It's not for everyone, but definitely it's worth a watch
AlsExGal8 January 2023
Based on The Who's rock opera, it's about a boy (Barry Winch) who goes deaf, dumb, and blind as a result of a traumatic event he witnesses. The boy grows up to be Roger Daltrey, and the film is about what happens to him and his parents (Ann-Margret & Oliver Reed).
The performances, music, and the images are what made an impression on me. Tina Turner is unforgettable as the Acid Queen, who promises to make Tommy grow up. Ann-Margret is better than I ever remember her being; she got a Best Actress Oscar nomination and won a Golden Globe as Best Actress in a Comedy or Musical. Roger Daltrey does well in his first movie. Jack Nicholson as The Specialist has a better voice than Marlon Brando. Oliver Reed's singing skills are debatable, but he acts the part well.
The music is good, especially Tina Turner, Ann-Margret's songs, and Elton John, who sings "Pinball Wizard".
The images that work--the ones I remember best; The Church of Marilyn Monroe, with her statue in the pose from "The Seven Year Itch" (1955), when she stood above a subway grating and her skirt blew upward. The whole scene with Tina Turner. Ann-Margret dressed in white, in an all white room; Daltrey, singing in a church, with a cross as his microphone.
This would be a perfect film for TCM Underground, if it hasn't already been shown there.
The performances, music, and the images are what made an impression on me. Tina Turner is unforgettable as the Acid Queen, who promises to make Tommy grow up. Ann-Margret is better than I ever remember her being; she got a Best Actress Oscar nomination and won a Golden Globe as Best Actress in a Comedy or Musical. Roger Daltrey does well in his first movie. Jack Nicholson as The Specialist has a better voice than Marlon Brando. Oliver Reed's singing skills are debatable, but he acts the part well.
The music is good, especially Tina Turner, Ann-Margret's songs, and Elton John, who sings "Pinball Wizard".
The images that work--the ones I remember best; The Church of Marilyn Monroe, with her statue in the pose from "The Seven Year Itch" (1955), when she stood above a subway grating and her skirt blew upward. The whole scene with Tina Turner. Ann-Margret dressed in white, in an all white room; Daltrey, singing in a church, with a cross as his microphone.
This would be a perfect film for TCM Underground, if it hasn't already been shown there.
Oliver Reed singing?
tonygillan8 September 2003
Ken Russell introduced Oliver Reed to Pete Townshend. Townshend sat at piano and told Reed he would accompany him on any song he knew. Whatever the song was, Townshend stopped playing after one line, turned to Russell and said 'You're f****** joking aren't you', such was the ineptitude of Olly's singing. In fairness to Reed, he would readily admit that he couldn't sing to save his life.
Therefore, it seems incredible that he should be cast in a musical. 'Tommy' is a musical with no dialogue, unlike 'Oliver' in which Reed was excellent.
This sort of sets the tone for a pretty bad film.
Buy the original album by The Who instead. A classic. No film was ever likely to do justice to it, even so, this fails by an uncomfortably large margin.
Therefore, it seems incredible that he should be cast in a musical. 'Tommy' is a musical with no dialogue, unlike 'Oliver' in which Reed was excellent.
This sort of sets the tone for a pretty bad film.
Buy the original album by The Who instead. A classic. No film was ever likely to do justice to it, even so, this fails by an uncomfortably large margin.
Wonderfully stupid!
IDs_Ego5 October 2004
First, you should know the album to really -er- appreciate this film. The album is a classic, even though it is a patchwork of songs that The Who decided to turn into a concept album by gluing various themes together with mostly lesser tunes. But it has some great pieces, like "Amazing Journey", "Overture" "Welcome" and "Sparks" (all of which you won't hear on Classic Rock radio stations). So first know the album, and then see the movie, if you dare. You will be amazed but certainly entertained.
Rather than apply the original music from the heartfelt album, the film reworks the tunes with tepid session musicianship and the neat-o synthesizer, so very innovative in 1975. Seeking to be high-minded about idolatry, religion, war, consumerism, pinball- y'know, all that big meaningful stuff- this flick heaps on laughably dopey symbolism by the barrelful. Seeing cameos from Eric Clapton and Elton John is interesting,simply to give you a window on the era. Tina Turner, however, as the twitchy Acid Queen dancing to... er, a mirror-hypodermic-iron-maiden is- well, one of the reasons this lunacy is simply a must-see. And no actress has ever gone more over-the-top than Ann Margaret, and God bless her and her bean slither for that.
It is so dated, so in-that-moment, so weird, so over-the-top, and so fearlessly awful it's great. The best of the 'worst rock and roll film ever' category, and that includes "Sgt. Peppers Lonely Hearts Club Band", which could be considered its spawn. This is a must-see glam-a-licious wierdfest.
Rather than apply the original music from the heartfelt album, the film reworks the tunes with tepid session musicianship and the neat-o synthesizer, so very innovative in 1975. Seeking to be high-minded about idolatry, religion, war, consumerism, pinball- y'know, all that big meaningful stuff- this flick heaps on laughably dopey symbolism by the barrelful. Seeing cameos from Eric Clapton and Elton John is interesting,simply to give you a window on the era. Tina Turner, however, as the twitchy Acid Queen dancing to... er, a mirror-hypodermic-iron-maiden is- well, one of the reasons this lunacy is simply a must-see. And no actress has ever gone more over-the-top than Ann Margaret, and God bless her and her bean slither for that.
It is so dated, so in-that-moment, so weird, so over-the-top, and so fearlessly awful it's great. The best of the 'worst rock and roll film ever' category, and that includes "Sgt. Peppers Lonely Hearts Club Band", which could be considered its spawn. This is a must-see glam-a-licious wierdfest.
A FILM MADE TO LOVE ROCK MUSIC
melandaniel3 January 2001
"See the film, please don't buy the LP". Yes I know, I take the contrary of most of comments about this film. In fact I think all depends on what people see or hear in first.
In 1975, I hated Rock Music. For me, this music was just an horrible din made by hairy yelling junkies. A friend pushed me very hardly to watch "Tommy". AND THIS FILM MADE ME LOVE ROCK MUSIC.. Not only the musical movie score, but all the Rock Music (Clapton, Turner, Who, Stones, Deep Purple, Pink Floyd, even the Sex Pistols because they looked like Cousin Kevin). And all that because Ken Russell succeeded to melt the old music (the Symphonic Opera) and the new one (Rock) together. He used a very clever crescendo to not hurt those who don't like Rock Music :
1 : the beginning is like a normal movie music with no voices, but a hard tempo.
2 : the first voice (which announce the bad new) is off, and the electric guitars start, but briefly.
3 : the first singing scene "it's a boy" looks like an old musical show (Like "the sound of music", very reassuring for a guy who hate Rock Music).
4 : "Bernie's Holiday Camp" and "1951" look like songs for TV commercials. (Silly and fun, but not shocking)
5 : "What about the boy" looks like a classical opera with a great voice work made by Ann Margret. In fact, from the beginning, I was waiting for the return of the "normal speaking" like every musical movie does. I suddenly understood that "Tommy" was a true opera. I thought : "Wow ! They had guts to try such a thing !".
6 : After this raging scene Ken Russel knew he has pushed the dramatic climax far enough to launch a big Rock missile : "Amazing Journey". For the first time of my life (I was 13) my legs jumped and twisted on a Rock Music. Russel trapped me ! He pushed the pressure with a classical way and to liberate all this energy he gave me .. ROCK ! I was totally upset ! I realized I was facing a great film with a great music. And this slow musical progression brought me to accept and to love hysterical scenes like "Acid Queen" or "Pinball Wizard". Without Ken Russel, I'd probably still hate Rock Music. Thanks Ken !
Because I was crazy about this film (I saw it about 400 times since 75) I bought the original album, but I don't like it. The orchestration is poor, the overture is just a mixed of the main themes, some songs don't exist (Champagne, Mother and Son, Welcome, TV Studio), and my favorite songs (Acid Queen, Pinball Wizard, I'm Free) are really too slow and too short. Of course, I realize if I have such an opinion, it's because I saw the film in first, and I understand those who have listen to the original in first will be disappointed by the film. I still think the bonus brought by Ronnie Wood (The Rolling Stones) for "Acid Queen", Elton John for "Pinball Wizard" and of course the genius work of Pete Townshend have made a real opera from what I call a "good rough". And that's a real creation ! If we compare with "QUADREPHONIA" or "PINK FLOYD - THE WALL", in these films, directors just put the original recording on pictures. Where is the creation ? If the composers were dead, these films could be made exactly as they are ! But "TOMMY" no ! "TOMMY - THE MOVIE" is really a new creation made by the original composer, the greatest musicians of the decade and a very experienced director. For me, THE GREATEST MOVIE EVER : 10/10.
In 1975, I hated Rock Music. For me, this music was just an horrible din made by hairy yelling junkies. A friend pushed me very hardly to watch "Tommy". AND THIS FILM MADE ME LOVE ROCK MUSIC.. Not only the musical movie score, but all the Rock Music (Clapton, Turner, Who, Stones, Deep Purple, Pink Floyd, even the Sex Pistols because they looked like Cousin Kevin). And all that because Ken Russell succeeded to melt the old music (the Symphonic Opera) and the new one (Rock) together. He used a very clever crescendo to not hurt those who don't like Rock Music :
1 : the beginning is like a normal movie music with no voices, but a hard tempo.
2 : the first voice (which announce the bad new) is off, and the electric guitars start, but briefly.
3 : the first singing scene "it's a boy" looks like an old musical show (Like "the sound of music", very reassuring for a guy who hate Rock Music).
4 : "Bernie's Holiday Camp" and "1951" look like songs for TV commercials. (Silly and fun, but not shocking)
5 : "What about the boy" looks like a classical opera with a great voice work made by Ann Margret. In fact, from the beginning, I was waiting for the return of the "normal speaking" like every musical movie does. I suddenly understood that "Tommy" was a true opera. I thought : "Wow ! They had guts to try such a thing !".
6 : After this raging scene Ken Russel knew he has pushed the dramatic climax far enough to launch a big Rock missile : "Amazing Journey". For the first time of my life (I was 13) my legs jumped and twisted on a Rock Music. Russel trapped me ! He pushed the pressure with a classical way and to liberate all this energy he gave me .. ROCK ! I was totally upset ! I realized I was facing a great film with a great music. And this slow musical progression brought me to accept and to love hysterical scenes like "Acid Queen" or "Pinball Wizard". Without Ken Russel, I'd probably still hate Rock Music. Thanks Ken !
Because I was crazy about this film (I saw it about 400 times since 75) I bought the original album, but I don't like it. The orchestration is poor, the overture is just a mixed of the main themes, some songs don't exist (Champagne, Mother and Son, Welcome, TV Studio), and my favorite songs (Acid Queen, Pinball Wizard, I'm Free) are really too slow and too short. Of course, I realize if I have such an opinion, it's because I saw the film in first, and I understand those who have listen to the original in first will be disappointed by the film. I still think the bonus brought by Ronnie Wood (The Rolling Stones) for "Acid Queen", Elton John for "Pinball Wizard" and of course the genius work of Pete Townshend have made a real opera from what I call a "good rough". And that's a real creation ! If we compare with "QUADREPHONIA" or "PINK FLOYD - THE WALL", in these films, directors just put the original recording on pictures. Where is the creation ? If the composers were dead, these films could be made exactly as they are ! But "TOMMY" no ! "TOMMY - THE MOVIE" is really a new creation made by the original composer, the greatest musicians of the decade and a very experienced director. For me, THE GREATEST MOVIE EVER : 10/10.
Hasn't aged that well
Boyo-25 July 2000
I saw this when it first came out in 1975. I had to go with my Mother but would not walk into the theatre with her (but she paid). I was worried that if some of my friends were there, they would see me with her and that would be the ultimate humiliation, seeing "Tommy" with your Mom. When you're 15, that counts for everything.
Well now that I am my Mom's age, I should call her and thank her for tolerating this. It is a little too long and you have to be in a great (I mean GREAT) mood to enjoy any of Ken Russell's movies. The acting is all good and I don't care that Oliver Reed can't sing, he does his job. Ann-Margret is great and I can't think of anyone else who could have played her role, at the time. The movie is not a rock classic, in my book anyway, but it was worth seeing again.
Well now that I am my Mom's age, I should call her and thank her for tolerating this. It is a little too long and you have to be in a great (I mean GREAT) mood to enjoy any of Ken Russell's movies. The acting is all good and I don't care that Oliver Reed can't sing, he does his job. Ann-Margret is great and I can't think of anyone else who could have played her role, at the time. The movie is not a rock classic, in my book anyway, but it was worth seeing again.
World's longest and noisiest music video
gottogorunning17 August 2005
This is probably not the best movie to start watching after a busy day at 10:30 P.M. Even though I had already heard the Who's original album, I was still completely unprepared for the sensory assault mounted by the film's director, Ken Russell. Every scene is a kaleidoscopic frenzy of garish and bizarre images, most filled with hilariously obvious symbolism (which the college kids watching the film with me seemed to enjoy pointing out), and reinforced by the Who's music, which runs throughout the movie at top volume and with barely any interruption. It's also badly dubbed to the actor's lip movements, which only adds to the overall strangeness. Russell seems particularly fond of having the actors degrade themselves- one long sequence shows Tommy being abused by his sadistic cousin and his perverted uncle. In another scene, involving Ann-Margret as his mother, champagne and baked beans erupt out of a TV and fill an immaculately white room. Following the lead of the original album, Russell seems to be trying to make some kind of satirical statement on organized religion, but the whole thing is so over-the-top and bears such little relationship to any reality that the attempts at commentary wind up as empty as the rest of the film. Russell's dubious accomplishment basically consists of having created the world's longest and noisiest music video.
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
