During World War II, Captain Walker and his wife Nora spend an idyllic day in the country before he returns to duty, but soon after he is reported missing. Nora gives birth to a healthy boy, Tommy, and even though still grieving for Walker she later marries another man. But Walker still walks…
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Perfect example of style over substance but, in this case, I don't mind at all. I particularly liked Ann-Margret and Roger Daltrey's performances, the Marilyn Monroe church's scene and two or three songs that have become classics since then. Highly recommended.
This was my favorite movie when I was 16. While I now have a more measured view of this film, I still respect both Ken Russell and Ann Margret for the blustering gusto in which they attacked this project. Its messy and beautiful with only Townshends wonderful rock opera keeping it from going too wild. It may no longer be my favorite, but I still love it.
A brilliant visual and aural assault with Russell firing in all directions - and hitting the target - in a noisy synthesis of music, colours, motifs and pop art sensibilities. The cod organised religion critiques of the story are overcome in some gloriously realised sequences that simply crackle and fizz with inventive energy that really does reach out to the senses, albeit sledge hammered with kitsch glee.
Not a great film, but worth seeing for two scenes in particular: Ann-Margret's orgasmic ecstasy amid bucketfuls of beans, chocolate, and soap, and Tina Turner's scorching hot, quiveringly insane rendition of "The Acid Queen". These are two of the greatest scenes of all-time. I'm less enthusiastic about the rest of Tommy, but at least it's never boring!
This movie is part of history for his elegant, goofy, kitsch, sophisticated and stylish melodramatic facture. However it terribly aged, same goes with the music.The word "amazing" is not really appropriate. Moreover I'm not really found of musical comedies (Phantom of Paradise...). This one does not equal Russell's fabulous chronicles about Debussy / Rossetti.
By no means an excellent film but clearly a great one. All Russel's strengths as a director (and some of his weaknesses, too) come together to create a stunning British farce masquerading as an epic melodrama. My fandom of The Who and general 1970s excess ensured I would love this film even before I saw it and despite growing older and wiser, I can't bring myself to love it any less. www.foec.wordpress.com