A Masterpiece!

A Major Disappointment

I wanted to like it more than I actually did... But much of the humor totally escaped me and I walked out only mildly impressed.

It's funny, it's tense, it features two great performances from two actors and the director expertly creates a web of odd tension where you actually don't know what is happening for the majority of the run time.

This film is directly based on an concept album by the British rock band The Who.Tommy tells the story of a boy named Tommy Walker,who after witnessing his stepfather kill his actual father, became blind,deaf and dumb due to shock. He then found a pinball machine when he was a teenager and started winning competitions and helped his family became rich. Later in the movie, his mother is frustrated that he kept looking at his reflection in the mirror and then push him so hard that he broke the window, which then miraculously cured him. He then started a cult based on his miracle, but then people realized it is a fake and then violently revolt on him, causing his parents to die and him being depressed again.The film has no dialogue, it uses the lyrics and the music from the album to tell the story, similar to Pink Floyd's The Wall. It also have famous movie and music stars like Eric Clapton, Tina Turner, Elton John, Jack Nicholson and of course The Who, in which the lead singer Roger Daltery and drummer Keith Moon played characters in the film.The reason why I liked the film is because the music, actors and actresses expressions in order to give the film more drama and overall quirkiness feel make this film a recommendation to Rock fans and The Who fans.

I doubt I can add much to the many reviews already posted for Tommy, Ken Russell's demented film version of The Who's classic 1969 rock opera. It's not a movie that will please everybody. It's weird at every turn and feels very much like it was crafted by someone on psychedelic drugs. But it's also fascinating to watch (and listen to) and never boring. I've read many reviews here that talk extensively about Russell's creativity, the amazing sets, the various people performing The Who's music, and so on. All of that's great but I would like to focus on one specific person who makes the movie for me: Ann-Margret. Aside from being stunning throughout the picture (even when writhing around in baked beans and chocolate), she has one of the best voices in the film. Most importantly, she gives the film's standout performance. Most of the people in this are camping it up as much as possible or they seem to be high. Ann-Margret manages to match everyone's craziness while still bringing her own special charm and energy to her role. She was nominated for an Oscar for this (and won a Golden Globe). She's really fun to watch and, if you're a fan of hers, I strongly recommend you see this. Overall, the movie is not without its flaws but it's worth a look at least once. Be prepared, though, it's very 'out there' and never lets up, moving along at a fast pace from start to finish.

I came to this movie for the first time as a Who fan, never having seen a Ken Russell feature, although I was aware of his infant-terrible reputation and even while I consider the group's later "Quadrophenia" double-album to be superior, there's no denying the filmic possibilities that "Tommy" offers. The allegorical story of course is so fantastical that perhaps its original creator Townshend felt that only a director with the imaginative flair of Russell could translate it to the big screen. Told entirely in sing-speak, faithful to operatic tradition, it probably helps if the viewer is familiar with the source material as the plot takes some imaginative (and then some!) leaps as it progresses.Even if you can't follow the narrative flow, there's invariably something going on on-screen to keep the viewer interested, from the cameo appearances of contemporary rock stars, some memorable, Elton John, Tina Turner, some not, Eric Clapton. But these sightings are a mere bagatelle compared to some of the visual imagery dreamed up by director Russell, none more so than Ann Margret's freak-out scene which sees her awash with chocolate and champagne, but there are plenty more, the screen invariably filled with people, myriad objects of varying significance and unusual locations.As for the rest of the acting, it's hard to judge given the operatic context of proceedings, but, as indicated above, Ann Margret certainly throws herself into her part as Tommy's loving but feckless mother while Who lead singer Roger Daltrey gives a capable and very athletic performance in the lead role. Oliver Reed on the other hand, no singer for a start, as her second husband and who brings with him dubious other male relatives, seems out of his depth, but keeps going, I think is the best you can say. The music is fine, including a few new Townshend songs recorded with the film in mind, although I could have done without the synthesiser constantly filling up the background. I also somehow didn't get the release from the rich uplifting songs near the end like "Listening To You" and "See Me Feel Me" as I did on the original album.An unusual film, then, fulfilling both the rock and the opera criteria of its genre, the latter particularly in the eschewing of normal dialogue. It's never dull but occasionally opaque, you'd probably need to be a fan of either the Who's music or Russell's idiosyncratic direction to really appreciate it. Good luck to you if you can do both.

It is not easy to adequately review this film properly. I am doing a series of presentations to the Society on Ken Russell and while I have the original sound track of Tommy on vinyl I had not seen the movie since its release. With some difficulty I sourced a DVD and watched it the other night and subsequently. This is my fifth attempt at writing a review that I am satisfied with.This could be an offensive movie to many despite the stellar cast and music. It really is quite deranged in parts and simply would not be made today in this form. Cousin Kevin, Uncle Ernie, the Acid Queen, and the Eric Clapton scene (Eyesight to the Blind, in which he reprises the Clapton is God theme from the 60s) are surely calculated to upset everyone, or challenge traditional viewpoints such as Catholicism, false rituals, cults etc. and that clearly is what KR intended doing, and he does it brilliantly. We even get a good measure of paedophilia, sadistic abuse and drug use thrown in as well.In the end I suppose it is also about redemption and the triumph of good over evil which is a marked counterpoint to KRs 'The Devils'. Is it just my opinion or is the close out shot a depiction of Christ on the Cross offering redemption and salvation to all, not just Tommy himself? This is an incredible juxtaposition to Clapton's 'God' scene earlier in the movie. Are also the lyrics to 'Listening to You' not a strong association between Tommy and Christ? I think they are. Listen closely or source the lyrics.This is a movie that deserves and needs serious reflection because it challenges convention, and if you don't like the music, don't go there. It is for me utterly audacious and original but I also appreciate it will be disturbing to many. Appreciate it or hate it for its originality but if it is viewed with an open mind the incredibly positive ending is a tonic for the soul.And of course, the music cannot be faulted. Did Elton John ever exceed his Pinball Wizard role? I think not. I also think Roger Daltrey (Tommy) singing 'I am Free' and "Listening to You' are incredibly uplifting and spiritual. And are Ann-Margaret and Roger Daltrey not the most beautiful creatures on the planet? The 'Healed' scene in the ocean is just gorgeous, as is the strong message about materialism. If Tommy is Christ reborn, is Nora his mother Mary? You can go on and on analysing this movie but the easiest thing is to just go along for the ride.