Tommy the Movie

Tommy Cinerama Theatre.

Reviewed by Anthony Ward.

Tommy was Pete Townshend's first attempt at a rock opera. It was singularly successful. The Who, a handful of mates (including Eric Clapton, Elton John and Tina Turner) and Ken Russell have got together to produce the movie from it. This too is singularly successful.

The story centres on a young lad who is psychologically deaf dumb and blind after seeing the murder of his father. It proceeds through Tommy's rejection of idols supposedly able to save him (a manger and a large plaster cast of Marilyn Monroe) to his own building up as an idol, firstly as a pinball wizard and later as a Messiah. The destruction of idols and a cyclical return to them is a feature of the work of both The Who (Won't get fooled again) and Ken Russell (The Devils)—and by now the theme is a little hackneyed. Certainly the scenes when Roger Daltrey as Tommy (with restored sight) is hang-gliding over the earth spreading love and brotherhood strain the patience.

But the film is more than just this theme—Tommy is also a symbol for all neglected youth, just more obviously dependent on his parents. His pleas for real affection are highlighted in two staggering scenes—one an Xmas party when the young Tommy is ignored apart from some cryptic remarks on his handicaps; and another when his mother (now rich and decadent on Tommy's star income) is trying to tune into another TV channel to get away from a broadcast of Tommy's concert. In both cases the plaintive "see me, feel me" is used to maximum impact. There is a strong theme against materialism as well—from Tommy's destruction of the Marilyn Monroe statue to his preaching the virtues of non-wordly values. This latter is clearly contrasted with the racketeering of Tommy's stepfather, of which he is blissfully unaware. The impracticality of Tommy's preaching is clearly shown, but a real alternative to it or the established religions (Church, materialism) is never shown. The best help in this line is when the inmates of Tommy's holiday camp riot, destroying the idolic pinball machines. Despite the claims of "setting them free", they all run off to the tune of police sirens—the freedom is heavily circumscribed.

Acting is generally good. Daltrey as Tommy is competent, Tina Turner as the acid queen really powerful and Oliver Reed as the stepfather impressive. I wasn't so turned on by either Elton John or Eric Clapton: if its their names you're after try the records. The Who's music is always good and at times (eg See Me, Feet Me and What about the boy) superb both technically and in context. Ken Russell's directing is first rate, apart from some sickly sweet scenes when he seems to lose control. Its quite possibly his second best film, after Savage Messiah.

There's much more to the nearly two-hour film than even a very long review could do justice to, and many more tremendous scenes than can be described. In the words of the best adverts before Tommy's mother smashes the colour TV with a champagne bottle "Try it for yourself".

Tommy starts at the Cinerama on Friday