Tommy

1975 - Dir: Ken Russell - 1 hour 53 minutes. Shown at the FeckenOdeon on 1st August, 2014

“TOMMY BY THE WHO” - More correctly the credit line should read “Tommy by Pete Townsend”. The Who’s guitarist had experimented with a shorter work on the same theme but it was not until 1968, when long playing records began to outsell singles, that it became possible for him to push the idea of a full length rock opera. Townsend sketched out the story and wrote most of the music with the rest of the group adding and influencing the shape in rehearsal. The album was released in 1969 and was a sensation.
Unusually for a rock work there’s a linear narrative. The piece chronicles the story of a boy who becomes deaf, dumb and blind after witnessing the murder of his father. Through his mastery of pinball, he is cured, elevated to prophet status and then turned on by his followers. This examination of spirituality and self was a massive success and rapidly climbed album charts the world over. The Who’s subsequent tour included a full performance of Tommy at each show. Ultimately, the barrier-shattering work was performed at several major opera houses, including New York’s Metropolitan Opera House.
AND THEN THERE WAS KEN: The choice of Ken Russell as director at first seemed to be at odds with the more subtle aspects of the story of Tommy. The director had just been responsible for a series of stylish shockers - Women in Love, The Devils and The Music Lovers to name but three. However, in his early work, Ken had demonstrated a great musical understanding with his BBC essays on the great composers. He also had a reputation for consummate craftsmanship - and an ability to pilot the most difficult of projects to a successful conclusion. The latter quality would have been considered essential for a film involving rock musicians. In the event Robert Stigwood made a wise choice. Russell instantly bonded with the band, moulded the story into a visual spectacular and conscripted the most unlikely performers to flesh out the drama. A lesser director would have merely made a record of a performance - Russell turned it into a bravura display of epic proportions. It’s way over the top, predictably vulgar in parts, breathtaking in others. Ground breaking techniques were used which stretched the technology of the age. Crash zooms, strobe effects and fast cutting have become standard tools but in 1975 they were a challenge for technicians and audiences alike. Many of the set pieces were way ahead of their time and still stand up after 40 years. Whether the whole film survives the test of time is less certain - but you are the best people to judge. Tommy hasn’t been seen in cinemas for 30 years - so you are the first people to see, feel and hear it as it was meant to be seen, felt and heard. Ken Russell died in 2011 at the age of 84. It’s difficult to imagine such a wild and provocative film maker being allowed to flourish in 2014’s antiseptic climate.
QUINTAPHONICS: Tommy has not been available in its original form for many years. This new digital restoration includes the original “Quintaphonic” soundtrack. In 1975 a few UK cinemas were equipped with 4 track sound but none could cope with 5 tracks. Selected city centre theatres were specially equipped for the film - but ordinary local cinemas played the film in mono. There were reports of some theatres trying to play the track though their standard stereo systems and blowing up the loudspeakers. We are equipped with 5.1 surround sound so we can play the soundtrack in its intended form without risk of destruction. The director insisted that it should be played loud - so this will certainly not be a quiet night at the movies!

Cuban Fury

2014 - Dir: James Griffith - 1 hour 38 minutes
Shown at The FeckenOdeon on July 4th, 2014
This is a bit of fun for a summer Friday night. Light and frothy… so it’s interesting to find out that there’s a grain of autobiographical truth behind it. Leading actor and salsa sensation Nick Frost came up with the idea for the film because of his own frustrated fixation with dance. He always loved the idea of dancing on screen, but he was afraid to tell anyone. “It would haunt me,” he says. “Every now and again it would pop up and say, ‘You need to tell someone about me.’” One night he came home from a party and simply couldn’t keep his secret any longer. He sent an email and then fell asleep in his clothes. “I woke up the next day and my mouth was dry and I looked at my laptop and there was a reply reading, ‘This is a great idea. Let’s do it,’” Frost says. “I was terrified but it was also a tremendous relief.” In the movie it looks like Frost knows what he’s doing on a dance floor - and he does. He spent seven months learning salsa and even although “there were tears,” he knew he had to pull it off - if for no other reason than as the producer he’d committed to mastering the moves to get his dream project funded. “I’ve been in meetings where I’m saying, ‘Yeah, of course I’ll dance - don’t worry about me’ to get it green-lit,” he says. “It was only until half-way through month six that I was convinced I could do it”
Chris O’Dowd, last seen here in “The Sapphires”, is one of the busiest actors in the business. He has at least three projects on the go at the moment and co-wrote his recent Irish film “Calvary”… and he’s the voice of Dr Cockroach in “Monsters vs Aliens” on the telly. Ian McShane, who has made a career out of slightly seedy characters, has also been busy. He’s best remembered for Lovejoy (all 73 episodes of it) but since that last graced our screens in 1994 he’s never stopped working. Blockbuster or independent art picture, he’s in them all - He’s Blackbeard in the Pirates of the Caribbean series, Captain Hook in Shrek and currently has no less than 5 films on the verge of release. Rashida Jones, though excellent in this film, has obviously been parachuted in to add a bit of appeal in the American market. She’s the daughter of Quincy Jones and stars on American TV in “The Awesomes”… whatever that is!
SO WHAT IS SALSA?
Salsa dancing originated in New York in the mid-1970s. It evolved from earlier dance forms such as "Cha cha cha" and Mambo which were popular in New York, and incorporated elements of Swing dancing and Hustle, as well as bits of Afro-Cuban and Afro-Caribbean dances such as Guaguanco and Pachanga.
There is some controversy surrounding the origins of the word salsa. Some claim that it was based on a cry shouted by musicians while they were playing their music. Other believe that the term was created by record labels to better market their music, who chose the word "salsa" because of its spicy and hot connotations. Still others believe the term came about because salsa dancing and music is a mixture of different styles, just like salsa or "sauce" in Latin American countries is a mixture of different ingredients.