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"Tommy (Superbit Collection)" Overview
The Superbit titles utilize a special high bit rate digital encoding process which optimizes video quality while offering a choice of both DTS and Dolby Digital 5.1 audio. These titles have been produced by a team of Sony Pictures Digital Studios video, sound and mastering engineers and comes housed in a special package complete with a 4 page booklet that contains technical information on the Superbit process. By reallocating space on the disc normally used for value-added content, Superbit DVDs can be encoded at double their normal bit rate while maintaining full compatibility with the DVD video format.
"Tommy (Superbit Collection)" Specifications
If you've ever wanted to hear Jack Nicholson sing (or try to) or marvel at the sight of Ann-Margret drunkenly cavorting in a cascade of baked beans, Tommy is the movie you've been waiting for. As it turns out, the Who's brilliant rock opera is sublimely matched to director Ken Russell's penchant for cinematic excess, and this 1975 production finds Russell at the peak of his filmmaking audacity. It's a fever-dream of musical bombast, custom-fit to the thematic ambition of Pete Townshend's epic rock drama, revolving around the titular "deaf, dumb, and blind kid" (played by Who vocalist Roger Daltrey) who survives the childhood trauma that stole his senses to become a Pinball Wizard messiah in Townshend's grandiose attack on the hypocrisy of organized religion.
The story is remarkably coherent considering the hypnotic dream-state induced by Russell's visuals. Tommy's odyssey is rendered through wall-to-wall music, each song representing a pivotal chapter in Tommy's chronology, from the bloodstream shock of "The Acid Queen" (performed to the hilt by Tina Turner) to Nicholson's turn as a well-intentioned physician, Elton John's towering rendition of "Pinball Wizard," and Daltrey's epiphanous rendition of "I'm Free." Other performers include Eric Clapton and (most outrageously) the Who's drummer Keith Moon, and through it all Russell is almost religiously faithful to Townshend's artistic vision. Although it divided critics when first released, Tommy now looks likes a minor classic of gonzo cinema, worthy of the musical genius that fueled its creation. --Jeff Shannon
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