They tell the boy that he didn't see or hear anything, and he should never tell anybody about it, and Tommy, to cope with the trauma of seeing his long-lost father murdered, over-interprets this to mean that he can't see, hear, or say anything. She takes as a lover "Uncle" Frank (Oliver Reed), who agrees in his loutish way to be a father to the boy, but when the Captain returns, years after his presumed death, Nora and Frank murder him in a panic, and Tommy sees this. The story (which is slightly different in the film than in the movie) begins when Captain Walker (Robert Walker) is believed dead when his plane is shot down his widow Nora (Ann-Margret) is thus left with a small boy, Tommy, to raise. It has a remarkable, maybe even unprecedented amount of ambition that could only go hand-in-hand with a compete fearlessness about coming off as ludicrous and goofy more than it is good or bad as such, it is a work of sprawling grandeur (and for the record, I think it is extremely good not The Who's best album, which is the 1971 follow-up Who's Next, but maybe the one that shows them off the best). The album was a self-anointed "rock opera", one of the very first (the term dates to 1966, but no rock operas were successfully completed until 1968), and The Who - that is to say, the band's creative head, songwriter Pete Townshend - took that phrase as permission to create a sprawling wall of music in several genres, strapped around a narrative that's convoluted and elaborate while simultaneously being opaque and barely comprehensible if you don't know it in advance. It would be an indescribable shame if that weren't the case.įor Tommy is, as its most basic level, a work of overweening excess.
Tommy, the 1975 feature film adaptation of the 1969 concept album by The Who, is an erratic, garish mess.
PINBALL WIZARD STRAIN MOVIE
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