TommyIt always seems like everyone's looking to trade in their messiah for the newer, sleeker model. Adapted from the rock opera of the same name by The Who, Tommy chronicles the life of a man whose sight, speech, and sense of sound were rendered void at a young age, bringing a life of hardship which through his grace and understanding--not to mention an inexplicable savant skill at pinball--led him to fame and fortune, and furthermore, a cult of personality, a flock of the lost looking to eke out some understanding of the world through him. But transcendence and popularity are often confused, and the latter often comes with a price.
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The challenge in adapting a work originating nigh exclusively from rock music to silver screen must always be in the visualization, and how one captures the spirit of the source material in a new light, a task conquered by Pete Townshend and director Ken Russell, who is also credited with the screenplay. The Who frontman, Roger Daltrey, performs the title role, who brings not only a vibrant energy to the performance, but has the added benefit of having a Christ-like appearance. The result of the cinematic adaptation is one which practically burns on the screen with exaggerated and hyper-realistic imagery, a heightened sense of narrative infused with song and dance. Reminiscent of other rock operas like Pink Floyd's The Wall and Jesus Christ Superstar, the film binds the similarities between superstardom and religious fervor. But in some ways, Tommy is more direct in its position as a social satire in its portrayal of modern civilization not only willing, but hungry, to buy into any kind of religion or popular idea while it's trending. It is cynical of consumerism and the propensity for people to glut and indulge in self-aggrandizement and capitalize on others for profit, elements often personified in Tommy's mother, Nora Walker (Ann-Margret) and his "Uncle" Frank Hobbs (Oliver Reed). Nora is dragged down into the undertow of Frank's avarice, nearly corrupted, becoming obsessed with materialism. Ann-Margret's daring scene of consumer excess involving the absolute desecration of her pristine, ivory-white bedroom in a torrent of soap, beans, and chocolate is as potent of a metaphor as one can get.
The story of Tommy begins as Nora and her husband, Captain Walker (Robert Powell) are on their honeymoon, and he is shortly thereafter called away to war, where his plane is shot down and he is presumed dead. Grief-stricken, Nora takes Tommy to Bernie's Holiday Camp, where she is seduced by the slick Frank, who comes to live with them. But when Captain Walker returns home, he is struck down dead by Frank in a fit of passion, and surprisingly both he and Nora seek to convince Tommy that he didn't "see anything", didn't "hear anything", and won't "say nothing to no one". The result is that due to the traumatic event, he shuts down almost completely, letting the sickness of his unanswered anguish desensitize himself out of self-preservation, a condition which drives a wedge between Nora and Frank to a point, as they are forced to acknowledge that they are the source of his affliction. And as Tommy ages, he suffers humiliation and abuse indirectly by his neglectful guardians, who leave him in the care of perverts and drug addicts. Emotionally fractured, he stumbles one night into an abandoned salvage yard, and discovers a pinball machine, which his eerie skill proves to be just the ticket for Frank to make some easy dough via his ward. But it would not be until much later when Tommy awakens from his trance, shaken by his mother's desperation to reach her son failing in all prior efforts, that Tommy espouses his freedom and tries to share his gospel with the world. His fame as a "pinball wizard" has already made his name a familiar one, but his new found message makes him a ready-made messiah, his face on the covers of magazines and posters, buttons with his name hocked to the faithful. But Frank's greed pushes the flock too far, and they rage not only at their exploitation, but at the confusion they feel at not "getting it", the message that Tommy claims to share, and their backlash comes from not understanding his path to wisdom; but how could they? Tommy only claims to point to the door, and everyone knows that only you can walk through it, and that each person's journey is unique. Of course, history has shown that it doesn't stop people from believing otherwise, and turning to others for direction in life, when they also need to look to themselves to be truly free.
Tommy is packed with a near embarrassment of stars, both movie stars and rock stars in various roles, including key players like Ann-Margret and Oliver Reed, as well as cameo roles like Jack Nicholson as "The Specialist" and Eric Clapton as "The Preacher". Numerous scenes feature these icons in focus, and include the larger than life pinball showdown between Tommy and The Pinball Wizard, played (and performed) by Elton John, who sports the biggest pair of Dr. Martens ever seen and a pinball beanie and goggles which marks him as a proto-gamer nerd extraordinaire. This scene is even more fun, with members of The Who performing alongside the tourney; and it wouldn't be complete unless Pete Townshend finished if off by smashing a guitar. For my money, the peak of these scenes has to be Tina Turner's turn as "The Acid Queen", electrifying and terrifying in equal measure, spinning around like a bloody dervish and clad in a flowing red cloak like a psychedelic vampire. The music is varied and riveting, and each scene is both colorful and thought-provoking, forcing the audience to assess how we view our celebrities and pop icons as golden idols, and the dangers of being trapped into looking outward in lieu of looking in.
Recommended for: Fans of a thrilling rock opera with bold and exciting performances, great music from one of the most acclaimed bands, and a story with a deep spiritual message as well.
The story of Tommy begins as Nora and her husband, Captain Walker (Robert Powell) are on their honeymoon, and he is shortly thereafter called away to war, where his plane is shot down and he is presumed dead. Grief-stricken, Nora takes Tommy to Bernie's Holiday Camp, where she is seduced by the slick Frank, who comes to live with them. But when Captain Walker returns home, he is struck down dead by Frank in a fit of passion, and surprisingly both he and Nora seek to convince Tommy that he didn't "see anything", didn't "hear anything", and won't "say nothing to no one". The result is that due to the traumatic event, he shuts down almost completely, letting the sickness of his unanswered anguish desensitize himself out of self-preservation, a condition which drives a wedge between Nora and Frank to a point, as they are forced to acknowledge that they are the source of his affliction. And as Tommy ages, he suffers humiliation and abuse indirectly by his neglectful guardians, who leave him in the care of perverts and drug addicts. Emotionally fractured, he stumbles one night into an abandoned salvage yard, and discovers a pinball machine, which his eerie skill proves to be just the ticket for Frank to make some easy dough via his ward. But it would not be until much later when Tommy awakens from his trance, shaken by his mother's desperation to reach her son failing in all prior efforts, that Tommy espouses his freedom and tries to share his gospel with the world. His fame as a "pinball wizard" has already made his name a familiar one, but his new found message makes him a ready-made messiah, his face on the covers of magazines and posters, buttons with his name hocked to the faithful. But Frank's greed pushes the flock too far, and they rage not only at their exploitation, but at the confusion they feel at not "getting it", the message that Tommy claims to share, and their backlash comes from not understanding his path to wisdom; but how could they? Tommy only claims to point to the door, and everyone knows that only you can walk through it, and that each person's journey is unique. Of course, history has shown that it doesn't stop people from believing otherwise, and turning to others for direction in life, when they also need to look to themselves to be truly free.
Tommy is packed with a near embarrassment of stars, both movie stars and rock stars in various roles, including key players like Ann-Margret and Oliver Reed, as well as cameo roles like Jack Nicholson as "The Specialist" and Eric Clapton as "The Preacher". Numerous scenes feature these icons in focus, and include the larger than life pinball showdown between Tommy and The Pinball Wizard, played (and performed) by Elton John, who sports the biggest pair of Dr. Martens ever seen and a pinball beanie and goggles which marks him as a proto-gamer nerd extraordinaire. This scene is even more fun, with members of The Who performing alongside the tourney; and it wouldn't be complete unless Pete Townshend finished if off by smashing a guitar. For my money, the peak of these scenes has to be Tina Turner's turn as "The Acid Queen", electrifying and terrifying in equal measure, spinning around like a bloody dervish and clad in a flowing red cloak like a psychedelic vampire. The music is varied and riveting, and each scene is both colorful and thought-provoking, forcing the audience to assess how we view our celebrities and pop icons as golden idols, and the dangers of being trapped into looking outward in lieu of looking in.
Recommended for: Fans of a thrilling rock opera with bold and exciting performances, great music from one of the most acclaimed bands, and a story with a deep spiritual message as well.