One giant Oompa Loompa segment but that is by no means a bad thing

the father: david byrne big suit
the son: kevin smith huge jorts
the holy spirit: elton john giant boots

my mom was watching this the other day and i kinda spaced out and thought she said it was tommy boy (1995) so i just stood there in confused silence for about six minutes wondering where the hell david spade was

i can't believe this movie about roger daltrey becoming a pinball master is the only thing that makes me feel slightly less suicidal

AND TOMMY DOESN'T KNOW WHAT DAY IT IS
     😜
👊/||\_
  _/¯ ¯\_
HE DOESN'T KNOW WHO JESUS WAS, WHAT PRAYING IS
👋
    \ 😳
       || \_
   _/¯ ¯\_

ann-margret: *rolls around in foam and baked beans and chocolate*

me: god, mood

jack nicholson: *starts singing*

me:

me: *opens legs*

A great oddity to behold, the big screen translation of The Who's Tommy is exclusively for fans of the band and admirers of Ken Russell. Attempting to catch up on all things Russell this year, I'm easily becoming a huge fan of his style. The man is a master of provocative imagery and this opera overfloweth with intoxicating gusto and memorable sequences just like everything I've so far seen from him. Like I said, the story is first and foremost for fans of the music, but who would blindly throw on Tommy without any knowledge of The Who? I slowly but surely grew tired of Ann Margaret as it went, but there are more than enough showstopping cameos and Oliver Reed secretly steals every moment like he does in every Russell film he's in.

Coked out of its mind with no fucking chain.

A new all-time fav.

TOMMY RULES OK

I love Ken Russell's orgiastic and exceedingly homoerotic take on the Who's muddled concept record, but the way he explicitly links Keith Moon's pedophilic Uncle Ernie to homosexuality -- for no specific reason and in a throwaway shot -- is particularly vile. That's some Anita Bryant shit, and so out of place in a movie that tries so hard to be camp that it unintentionally becomes an entirely different type of it.

Still, getting to see this in a theater with the restored quintaphonic soundtrack cranked up is an overwhelming experience. As far as operatic pop musicals go, I'd kinda take this over something like The Umbrellas of Cherbourg. There, I said it.

1 hour and 51 minutes

While I do admit that Tommy is probably more enjoyable a film if you are a fan of The Who's music ahead of time, it is probably one of the more successful "films based on rock albums" out there.

www.skonmovies.com/2018/05/blindspot-2018-cult-films-of-1950s-to.html

It's wild how much theoretical sense it makes to have Ken Russell directing a rock opera and how discordant the end result is. I would love a full documentary about how this movie ended up the way it did.

every scene in this movie would be the craziest scene in any other movie

top 3:
-roger daltrey hang gliding over a crew of hell's angels and
converting them to the church of Bally
-tina turner robot needle thing
-ann margaret masturbating in baked beans

honorable mention: keith moon and oliver reed sharing the screen for 5 seconds and threatening to cause a small nuclear explosion from their combined chaotic neutral energy and british schoolboy skylarks. RIP to two hyperreal ones. three if you include ol' thunderfingers. i wouldn't want to be fiddled about by 'im!

Se a força explícita da imagem diminui o poder sugestivo do som não sei, também acho que nem é relevante pra análise da obra. Só sei que, como está, Ken Russell faz um ótimo trabalho com Tommy em unir a atmosfera mais subliminar das canções opera-rock com sequências de filme dramáticas/surrealistas mais gritantes e eficientes por isso mesmo: a sexualização, a escatologia, a violência e a simbologia e joguinhos de luz óbvios. A cena da televisão é o melhor exemplo disso, também ajuda a eloquência da Ann-Margret, dignamente indicada ao Oscar pelo papel da mãe confusa e perdida.

I always thought this was a good adaptation, overall well directed and very creative.

But something bothers me a lot and it's that the music is worse than in the album, I really dislike how the synths sound and the new arrangements for some songs.

Good adaption, but the problem is that there’s too much filler on the album.

This movie gave my brain whiplash.

Even with the description "A psychosomatically deaf, dumb and blind boy becomes a master pinball player and the object of a religious cult." I don't think I was adequately prepared for the fever dream this movie is.

Je suis totalement divisé, car je crois que le film est vraiment moyen. Mais, y’a des apparitions de Elton John et Eric Clapton ainsi qu’un Jack Nicholson qui chante pour mon plus grand plaisir. Par moyen, je veux pas dire que tout le film est boff, car c’est vraiment pas le cas! Certains passages sont excellents, surtout celui du Pinball Wizard (brillamment interprété par Elton John). Bref, en bien y repensant, j’ai quand même passer un bon moment devant mais, je vous propose vraiment plus d’aller écouter l’album sur quoi le film se base qui est d’après moi un vrai chef-d’œuvre du rock! Peut-être même le meilleur opera-rock, eh oui, meilleur que Night at the Opera de Queen!

The Who is one of my all time favorite groups and Tommy is one of my favorite albums and to see it all come into a movie is pretty cool. I became infatuated with this movie a few months ago when I watched it four nights in a row. It’s super trippy and kind of uncomfortable in certain areas but overall a great movie. I would suggest listening to the original album before watching though.

I always forget how freaking weird this movie is

As much as I love The Who, this movie is really stupid. It’s over the top for the sake of over the top and the soundtrack makes the album its based off even worse.