TOMMY Review

Overall 4.00 of 5 (by 1 user)

jmdobies
Austin, TX

Ken Russell's Crazed Vision of The Who's Rock Opera Dazzles

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Pros

Oliver Reed's Performance, Classic Who Songs, Ken Russell's Wild Visual Approach

Cons

Synth-Heavy Score

FEB

2008

Ken Russell's 1975 film version of the Pete Townshend's rock opera is a study in excess, providing eye-popping visuals and grotesque tableaux to accompany the music. To label Russell's style of filmmaking "over the top" is putting it mildly.

Roger Daltrey plays the title character, and having sung the role hundreds of times on stage, acquits himself admirably. Unfortunately, he would not fare as well with his future film roles.

Ann-Margaret plays his mother, and received an Academy Award nomination for her work. She emotes for the ages as she gets covered in baked beans, chocolate sauce, and soap bubbles while riding a massive phallic pillow. That's worth an Oscar nom any time...

Also in the cast are Keith Moon as Uncle Ernie, Elton John as the Pinball Wizrd, Tina Turner as the Acid Queen, Jack Nicholson as the Doctor, and best of all, Oliver Reed in full gargoyle mode as Frank, Tommy's stepfather.

When I first saw this movie as a 13 year old with a Who fixation, I hated Ollie for not being able to carry a tune in a bucket. Seeing it again 30 years later, I realized that he's the best thing in it, whether he's leering at Ann-Margaret, blowing smoke in Jack Nicholson's face, or kicking "Sally Simpson" upside the head.

Reed's part got bigger and bigger as Keith Moon's got smaller and smaller, probably due to Ken Russell's familiarity with Oliver, and the fact that he could drink himself into stupor at night and show up on time and line-perfect in the morning, while Moonie remained stuporous. Nonetheless, Reed and Moon became bosom buddies, their carousing continuing after both relocated to Beverly Hills. I recently saw the blazer Reed sported in the holiday camp sequence on Ebay going for $2400 US. If I'd had the cash to spare, it would have been mine...

Tommy is not a total triumph: Townshend's score is heavy on the synthesizers and light on guitar crunch; the story is a bit nonsensical; and some elements of the film now seem dated in the extreme. However, Ken Russell's audacious direction is never dull, and as I mentioned, Oliver Reed is totally genius in it. No Pavarotti for sure, but unmistakably, undeniably Ollie.

Last edited on Feb 28, 2008