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Overall Rating
3.9

Awesome42.86%
Worth A Look: 33.33%
Just Average: 4.76%
Pretty Crappy: 9.52%
Sucks: 9.52%

2 reviews, 30 user ratings


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Tommy (1975)
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by brianorndorf

"I feel the music"
5 stars

In 1969, The Who unleashed “Tommy,” their electrified stab at a rock opera after years of tinkering with the elusive format. A musical achievement of staggering ambition and crunchy stacked-amp rock theatrics, “Tommy” became a sensation, justifiably branded the defining album of the band’s extensive career, soon embarking on a marathon tour of interpretation, eventually making iconic leaps to Broadway in 1992 and a feature film in 1975, handed over to cinema’s most persistent imp, director Ken Russell. The official tagline for the picture stated simply, “Your senses will never be the same.” It was a promise well kept.

Receiving the news that her pilot husband was shot down behind enemy lines during WWII, Nora (Ann-Margret) fears she much soldier on as a single parent with her son, Tommy (played as an adult by Who singer Roger Daltry). Finding love again with holiday camp scamp Uncle Frank (Oliver Reed), Nora accepts the new man into her life, only to find her husband didn’t actually perish as believed. In a fit of rage, Uncle Frank kills the pilot in front of young Tommy, with the impressionable boy instructed to bury this horrible vision deep within. Electing to shut down all of his senses, Tommy, now “deaf, dumb, and blind,” lives a life of maddening psychosomatic blankness, with a series of professionals and hooligans taking their turn tormenting the boy, hoping to crack his baffling shell. Instead of medicine or violence, Tommy’s mind is electrified by the healing power of pinball, which makes him a world champion, and soon a flawed deity.

To write that “Tommy” is a strange movie is selling the wondrous amount of psychedelic folds and avant-garde chutzpah on display here frighteningly short. Russell isn’t preserving the rounded edges of the original recorded work, instead shredding it through his command of cinema, interpreting The Who’s rock opera as a labyrinthine tour of the mind and soul, following Tommy’s life from a mute boy to a golden messiah. Richly rooted in era-appropriate synesthesia and barnstorming Euro filmmaking sensibilities, “Tommy” is contorted masterfully by Russell, who seems only moderately engaged in the music, instead expelling gale-force energy assembling this episodic descent into one abyssal, satiric, ear-ringing acid trip.

Thwacked by Russell’s abstract impulses, “Tommy” is a sensorial assault that perfectly captures the world of the album. Granted, the music’s been molested some to fit into its new home (personally, I prefer the stripped-down cut of the record, but there’s no better version of “Cousin Kevin” than Paul Nicholas’s nefarious performance here), with a generous push of synths to capture the 1970’s mood, but fixating on the sounds misses the point. Russell doesn’t want your ears, he wants your whole damn head, filling the frame with every camera and editorial trick in the book to create a swell of dementia as Tommy plunges deeper into his illness, while his world fights back with increasing frustration. “Tommy” is a head-spinning, backhand slap of a feature film, skillfully reaching out to the viewer with an array of songs, grotesqueries, perversions, and baked beans, guaranteeing the film an immediate reaction from anyone daring to sit in front of it.

Russell fires on all cylinders here, poking and prodding his cast to reach euphoric levels of expression. Reed is sufficiently agitated as Uncle Frank, and Daltry embodies all the childlike stillness of Tommy, generously articulating the character’s arc of pinball enlightenment. However, nothing comes close to Ann-Margret, who morphs into a ginger tornado as Nora, supplying a demented performance that needs to be seen to be believed. Able to deliver the tunes and the absolute mania the role requires, Ann-Margret received a much-deserved Academy Award nomination for the role, which miraculously straddles the fine line between mortifying and exhilarating. Famous supporting turns from Elton John (as the Pinball Champ, rocking size 140 shoes), Tina Turner (hyperventilating like a crazed cheetah as the Acid Queen), and Jack Nicholson (“singing” as The Specialist) help to beautify the feature, but the core essence of “Tommy” lies in the quivering carriage of Ann-Margret and her heroic personification of Russell’s funhouse directorial approach.

“Tommy” has been pulled through a myriad of interpretations, and while the songs and characterizations retain a familiarity, the artistic approaches vary wildly. It’s a testament to the dazzling musical foundation laid by The Who, but also to the story’s remarkable malleability and enduring relevance. Ken Russell’s “Tommy” is the most blitzkrieg version of the rock opera, steamrolling along without worry, trusting the blissful music, the toil of the ensemble, and the visual eruption will provide a magnificent vibration.

link directly to this review at http://www.hollywoodbitchslap.com/review.php?movie=2466&reviewer=404
originally posted: 08/27/10 09:56:38
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User Comments

3/29/16 Anne all have said it already better than I could... 2 stars
4/19/14 s Absolutely nuts, but brilliant. 5 stars
11/19/10 Chad Dillon Cooper Great film that is a work of art. 5 stars
9/11/10 Nadine Russo Great film, even better music. 4 stars
8/28/10 Kermit Crissey Great music 4 stars
8/28/10 paul carter Classic,yet strange musical.Need to really be in the mood. 4 stars
3/06/07 action movie fan entertaining adaption of who,s rock opera-music is good but original who album is best 4 stars
10/04/06 Skobay Brilliant film, potrays the album perfectly!! Full of absolutely amazing visual metaphors! 5 stars
9/03/04 T.B. I wish they show more Jack 3 stars
10/01/03 Alice This one freaked me out big time when I was a kid ! 4 stars
8/23/03 Jonathan F. It shouldn't be compared in any way to the excellent rock opera. 2 stars
3/06/03 Charles Tatum Ann-Margret and Reed eclipse the rockers 4 stars
1/24/03 Nancy S. Truly Terrible, Ann Margaret is only 3 years older than Roger Daltry, plays his Mom! 1 stars
11/17/02 Lisa Ann Hurley fantastic 5 stars
11/07/02 robt good music 3 stars
7/03/02 Maia Absolutely HORRIBLE! The story line is completely uninvolving and just drags on and on... 1 stars
5/23/02 john k it sucks 1 stars
4/11/02 MG absolutely fantastic. i simply adore it! 5 stars
2/20/02 Mark Brainard Oliver Reed and Ann-Margaret can't sing and Elton John and Roger Daultry are AWESOME 2 stars
2/15/02 murat ENERGITIC ,COLURFUL ,but what the hell about the last 15 mns. 5 stars
1/24/02 Andrew Carden Doesn't Capture All That It Could, but It's Still A Powerful Musical. 4 stars
1/23/02 Mark Brainard Elton John and Tina Turner and Roger Daultry saved this flick from a total failure 2 stars
11/13/01 Paul Evans Loved this movie when I was a kid. Saw it 4 times, twice in a row at one theater!! Classic! 5 stars
7/18/01 Sean Stevens films lke moulin rouge owe a great debt to ken russell and this film. not for high mindedbu 4 stars
1/21/01 Adina Davis Tommy is an amazing movie. Pete Townshend did an amazing job with the music. 5 stars
1/20/01 K. Pooch Jesus Christ Superstar on an Acid Trip 1 stars
11/10/00 matt ann margret is sexy as hell and i love seeing her get covered in foam, beans and chocolate 5 stars
10/25/00 Jacl Mulhall, jr Finally we get to see what Pete Townshend had in his mind when he wrote this masterpiece. 5 stars
6/22/00 Purple Monster Still mind blowing !!!! 5 stars
6/11/00 Kyle Bernard The movie is the best!The movie is real strange but awesome and neat. 5 stars
IF YOU'VE SEEN THIS FILM, RATE IT!
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USA
  26-Mar-1975 (PG)

UK
  N/A

Australia
  N/A


Directed by
  Ken Russell

Written by
  Ken Russell
  Pete Townshend

Cast
  Oliver Reed
  Ann-Margret
  Roger Daltrey
  Elton John
  Eric Clapton
  Keith Moon



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