Tommy is a visually explosive, wildly imaginative rock opera, filled with baked bean showers, Jack Nicholson singing (yes, really), Tina Turner as “The Acid Queen,” Elton John stomping around in giant shoes, and a cult worshipping the art of pinball—this is easily one of the wildest films out there.
Based on The Who’s 1969 rock opera, the story follows young Tommy, a boy who becomes deaf, mute, and blind after witnessing his father’s murder. Against all odds, he rises as a pinball wizard and eventually a spiritual icon. Russell’s direction captures the album’s surrealism, with over-the-top visuals that feel like Willy Wonka and the Chocolate Factory gone even more psychedelic. The sets and costumes, like Ann-Margret’s snake-like hat, are unforgettable, and Russell uses these as a canvas to bring the songs alive, creating a series of music-video-like vignettes. Though he tweaks a few details, he mostly lets The Who’s music lead, particularly in the brilliant first half, which is nearly a masterpiece. The latter half, however, can feel a bit disjointed, and some narrative choices may confuse viewers unfamiliar with the album’s story.
Ann-Margret shines brightest in the cast, bringing nuance and intensity to her role, especially in her rendition of “Smash the Mirror!” Her “Champagne” sequence might be one of the best displays of cinematic insanity, taking her character’s guilt-driven breakdown to surreal heights. Oliver Reed and Jack Nicholson both add campy charm, with Nicholson’s questionable singing surprisingly fitting right in. The ‘less actors more singers’ casting is hit or miss: Roger Daltrey struggles as the protagonist, lacking a strong screen presence, and Elton John, while entertaining, feels more like himself than a character. But Tina Turner brings the house down as “The Acid Queen,” making her role a highlight.
While the Broadway adaptation might smooth out some of the film’s narrative quirks, Tommy stands as a bold, under appreciated classic. It’s not a film one easily forgets, and it deserves to be celebrated for its ambitious risks and unforgettable style. Now, if you’ll excuse me, I need to listen to “Pinball Wizard”.