Almost lost in the mix… Tommy (1975), re-release for BFI Musicals! The Greatest Show on Screen

I'm free, I'm free

And freedom tastes of reality

I'm free, I'm free

And I'm waiting for you to follow me

Written in 1968, The Who’s Tommy was one of the first concept albums and, come 1975, maverick director Ken Russell took charge of turning Pete Townsend’s lyrics into a feature film. The result is a mixed bag so packed full of impact and ideas that its irresistible if occasionally irritating and, ultimately, a little inspiring.

For me Tommy is one of those double LPs that could easily make a decent single album and Quadrophenia is much more rewarding and thought through as a concept – as is Townsend’s complex and partly-abandoned Lifehouse project which formed the basis of their best album, Who’s Next and which has since been “completed” as a radio play. Tommy broke the mold yet has some ill-conceived episodes involving torture and abuse – sexual and pharmaceutical – which pad out the young hero’s “amazing journey” to becoming a pinball wizard and guru, and, some great riffs aside it feels under-powered overall.

The Acid Queen: Tina Turner

Six songs were added to the film score to reinforce the narrative and a host of guest singers including Jack Nicholson as The Specialist, Tina Turner as The Acid Queen, Paul Nicholas as Cousin Kevin and Elton John as The Pinball Wizard. It’s over-the-top in a way only Ken can manage and, as with many of his films, leaves itself behind on a number of occasions whilst still containing some moments of real impact.

Ann-Margret is astonishing and easily the most valuable player on screen, winning an Academy Award nomination as well as a Golden Globe for an extraordinary performance that has her stretch both sinew and vocal-chords as Tommy’s conflicted mother. This is a character far beyond anything you could pick from the original double LP and you can only guess how much of herself she put into her improvisations whether rolling around in baked beans (a nod to the cover of The Who Sell Out?) or howling her anguish at her damaged son.

Oh, not the beans Ken! Ann-Margret

Oliver Reed plays her good-for-little second husband, Frank who kills her first, Captain Walker (Robert Powell) … on his surprise return from the War in which he has been MIA presumed dead. This is the first time I start to see similarities with Pink Floyd’s The Wall as songwriter Roger Water’s father died at the Battle of Anzio and this formed the basis for his over-reaching double album’s worth of alienation later filmed by Alan Parker – he and the director argued ferociously and I wonder how Townsend got on with Russell?

Tommy sees his father’s murder and shuts down his eyes, ears and hearing: he cannot bear reality after what he has seen (Water’s character takes over two side to do the same). Twenty years later he has grown into Roger Daltry who’s vocal range is not matched by his acting although he’s a very strong swimmer. He’s also great at running through surf singing the above-quoted couplet.

Elton dresses down for the occassion...

His parents attempt to find a cure through Eric Clapton’s Marilyn Monroe-based faith – literally a cult of a celebrity - before Tommy is tortured by Tina Turner, knocked about by Paul Nicholas (how could you!) and fiddled with by Keith Moon as evil Uncle Ernie – Moon’s actually quite good on camera in a disturbing way. Tommy finds his way to pinball glory and bests Elton John’s Pinball King in the film’s most famous sequence. Then a specialist - classy Jack - offers a cure for his mental block whilst flirting with Tommy’s mother… she’s just a girl who can’t say no.

It all feels careless even when it’s powerful but it is an amazing journey with some spectacular sequences especially when alongside Townsend’s best songs. Standing highest is We’re Not Going to Take it and Listening to You which leads our hero towards sunrise on the Lakeland peak on which he was conceived by his parents in a more innocent time. You can see Catbells on the background making this somewhere over Derwent Water not far from Keswick.

Roger Daltry in the Lakes

The restoration is crystal clear and Tommy goes to show how vibrant and varied musicals can be; don’t miss it if you are a fan of any or all its wild and conflicting parts… there’s nothing quite like it.

This was an advanced screening as part of the BFI's Musicals programmes and there's so much to look forward to in perhaps the most uplifting season in years and further details are available on their website. Tommy is showing at the BFI and being re-released across the country from 22 November - if ever there was a time for Eyesight for the Blind it is now.

  

With the band, Pete Townsend, Ann-Margret and Keith Moon (Photo Joe Gaffney)