Tommy
The Who are no strangers to putting their music to cinematic tales. The Rock Gods, who encompass every meaning of the word, have truly mastered creating an achingly good film enchanted by their melodies and sounds. You just have to look at Quadrophenia which is arguably one of the most tantalising films that uses the songs the power the emotion home (honestly, the cliff top montage is one of the most stunning things you'll see in cinema). Similarly, The Who's music has been a constant source of tracks for other mediums from the titular intros of the CSI series to any indie flick that wants to use Baba O'Riley to convey that life really is teenage wasteland.
The Who are no strangers to penning film either, as evidenced with, again, Quadrophenia. But nothing brings more joy to people musically more so than the highly entertaining Tommy.
Directed by Ken Russell, Tommy tells the story of a young boy who lives in a somewhat broken home made worse by the murder of his father. Witnessing his Dad's death, Tommy reverts into himself becoming deaf, blind and dumb for a majority of his life. Without distractions to weigh him down, Tommy becomes a celebrity as he develops great skill at Pinball. His new talent sees his fame grow so much that he becomes the Messiah! Leading a new religious cult across the South of Britain, could this all help bring Tommy's senses back?
Rock Operas always produce the most fun such as Rocky Horror Picture Show, Phantom of the Paradise and, yes, Repo! The Genetic Opera. Tommy is no exception to the exhilarating mad-capped raucous romp that. Enhanced by the glorious sound track which includes Pinball Wizard as its defining track this is a vibrant world that illuminates the screen with this cult promise. Heck there are characters who march along the screen in stilts and the dizzying escapades Brighton flashes neon in a dazzling manner. Engrossing, the madness on screen - ripped from the off kilter show - Tommy is a spiralling world of craziness that beats with the intensity of the creators music.
That being said Tommy's story is still weighted in its emotion. Poignancy comes with the acting and a musical journey that explores psychosomatic disability, death and abuse. The Who, who wrote the film, penned this script so it flows the themes delicately with the songs so that they entwine. Whilst the general atmosphere of the film is this over the top adventure with big hair, flares and colour, the script is always weary enough to pull back and have the characters face the demons within.
On that note, the cast is a collection of marvels that spectacularly convey the story through the misery and melody. Roger Daltry is sublime as the titular broken boy who struggles to find place within the world. But it really is Oscar nominated Anne Margaret as his mother Nora who lives through the harsh decay of her sons problems through to fame. Subtly, profound and enriching - Margaret is enthralling in this role as a mother strained under the weight of the world. She is helped along by the likes of Oliver Reed who puts in his best menacing performance as stepfather Frank, Elton John and Jack Nicolson almost as if Russell picked names from the hat. Yet somehow they all broil the screen with undeniable chemistry and enjoyment.
Tommy is everything you'd expect and more. Russell was always aware of how to wickedly ensnare an audience and reverberate Britain in all its splendour across the screen. Because that deaf, dumb and blind kid - sure plays a mean pinball.