Starring Roger Daltrey, Ann-Margaret, Oliver Reed, and Elton John
Directed by Ken Russell
Music and Lyrics by Pete Townsend and others
Having enjoyed the unique film biographies I watched last week, I thought I'd dive further into the stranger side of rock with two really weird movies from the 70's and 80's based around groups of the time. Townsend wrote the original Tommy in 1968. It debuted a year later on a two-disc record and was a massive success. Music producer Robert Stigwood, who specialized in rock spectacles like Jesus Christ Superstar, bought the rights and brought in Russell. Russell wasn't a fan of rock, but he knew weird extravaganzas like no one's business. How did his peculiar sensibilities shape this story of a young deaf, dumb, and blind pinball player who becomes a messianic-like figure? Let's begin with Tommy's mother Nora Walker (Ann-Margaret) and father (Robert Powell) during the early days of their courtship and find out...
The Story: Nora is pregnant with her son Tommy (Barry Winch) when her husband goes missing during World War II. Five years later, she falls for Frank Hobbs (Reed), whom she met at a summer camp. Tommy looks up to Frank, until he sees him murder his returning father reflected in the mirror. Frank and Nora insist that he didn't hear or see anything, making him withdraw into a deaf, dumb, and blind state.
By the time Tommy (Daltrey) is in his early 20's, Nora is in despair of him ever being cured. Frank takes him to a faith healer (Eric Clapton) and a drug dealer (Tina Turner), but nothing works. Leaving him with a bullying cousin (Paul Nicholas) and an abusive uncle (Keith Moon) doesn't help, either. Tommy eventually discovers he's a pinball protege, beating even the reigning champ (Elton John). This brings him a great deal of money, but it does nothing to help his condition.
Frank finally takes Tommy to a doctor (Jack Nicholson) who suggests he confront his reflection in the mirror. His mother is fed up and shoves him through it...which does the trick. Tommy is not only cured, he wants to transform the entire world. He travels with a band to spread his word, turning his home into a religious camp. That makes him wildly popular with young girls especially, at least until they demand he do more than talk and sing. He loses everything in the ensuing riot...but gains an understanding of the true meaning of salvation.
The Song and Dance: Even just that plot description tells you what you're in for. The Who's music and simply amazing imagery carry the day here. There's also some fabulous costumes, going from the austerity of World War II through the glittering "glam rock" popular in the mid-70's. Russell spared no expense, and the result is a jaw-dropping mish-mash of all-star cameos (look for Turner's "Acid Queen" number and Jack Nicholson in one of his only two musicals to date) to the expansive cinematography and massive sets and pinball machines. Ann-Margaret did so well as Tommy's desperate mother, she won a Golden Globe and was nominated for an Oscar. Reed nearly matches her as the seemingly cheerful holiday worker she falls for, until she discovers his dark side.
The Numbers: We open with Nora and Captain Walker's romantic courtship, her husband's disappearance, and Tommy's birth in "Captain Walker/It's a Boy." "Bernie's Holiday Camp" shows Tommy's childhood and introduces Frank, showing why mother and son both come to appreciate him. Nora and Frank hope "1951" will be their year, but they worry "What About the Boy" when he sees them kill his father. Tommy's "Amazing Journey" begins and ends with the mirror as he shuts himself in his head. His mother laments that he can't even appreciate his birthday on "Christmas."
"Eyesight to the Blind" and "Acid Queen" are Frank and Nora's attempts to find someone to heal their son. "Eyesight" takes them to a cult that worships Marilyn Monroe, while the "Acid Queen" deals in drugs and Iron Maidens. Neither "Cousin Kevin" nor Uncle Ernie who "Fiddles About" do much to help Tommy's condition. Tommy eventually finds the "Sparks" that brings him to an abandoned pinball machine. Pete Townsend himself narrates "Extra, Extra, Extra," on Tommy's rise to fame, bringing us to the famous "Pinball Wizard" sequence. Elton John stomps out in massive boots (that he asked to be allowed to keep) in a lavish sequence with the two of them surrounded by fans in probably the show's best-known song.
"Champagne" depicts Tommy's rise as a media sensation. Nora watches in her pristine white room, furious that her son can't experience all of this for himself. She imagines herself covered in the beans she sees on TV and the chocolate she's been eating, writhing in her misery. "There's a Doctor" brings in Frank to explain they're seeing another doctor, and the doctor telling them what's really wrong with Tommy. "Go to the Mirror" leads Nora to the edge, taking us to "Tommy Can You Hear Me" and "Smash the Mirror."
"I"m Free" finally releases Tommy, letting him enjoy everything he's missed over 20 years. "Mother and Son" and "Miracle Cure" is his becoming that messiah figure. "Sally Simpson" is the young girl who believes in his cult and is hurt defying her father to see him. "Sensation," "Welcome," and "TV Studio" shows Tommy's rise to cult figure. "Tommy's Holiday Camp" brings his people together, but they rebel, claiming "We're Not Gonna Take It." It ends with Tommy fleeing the destroyed home and following the sun in "Listening to You/See Me, Feel Me."
Trivia: Tommy's continuing popularity led to Townsend adapting it to the stage in 1992. It opened on Broadway a year later and ran for two years. The London production in 1996 didn't do nearly as well, not even making a year. It was revived on Broadway briefly in 2024.
Two real-life pinball machines were made by Data East that were inspired by the film, one featuring Roger Daltrey, the other Elton John.
There's quite a few changes from the album (and would be more for the stage version). For one thing, Captain Walker kills his wife's lover on the album and onstage, not the other way around, and he came back from World War I rather than World War II. The order of many songs are reversed, new lyrics were written, and "Bertie's Holiday Camp," "Extra, Extra, Extra," "Champagne," "Mother and Son," and "TV Studio" were added.
What I Don't Like: Your interest in and appreciation of this film will depend on how big of a Who and hard rock fan you are and your tolerance for Russell's in-your-face style of direction. This is not a subtle movie. It's also not a traditional romantic family musical. It's not for those who aren't fans of hard rock in general and the Who in particular, who can't handle or don't like Russell's wild camp spectacles, or who are looking for a quieter show. Fans of the album and the stage show may not appreciate some of the changes or the weirder casting.
The Big Finale: Necessary viewing for fans of the Who and Elton John, this is also recommended for those who like their rock musicals huge, lavish, and completely off-the-wall.
Home Media: Easy to find in all formats, including streaming. The two-disc 4K set will be released on March 18th.
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