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Posts tagged Ringo Starr

I’ve been moving from coast to coast since I graduated university. No matter how many times I’ve moved over the course of my adult life, my journals have followed. Last time I moved they accounted for 4 boxes. Now I suspect it would take up to 8. After some soul searching, I rid myself of all those hand written documents. But I did take a last look at my 25 years of existential scrawling. Over the course of 6 months I reviewed all of my self-reflections. I came to the conclusion that my life took a positive but harrowing turn when I was 8 years old. This turn took place in 1975. My 8 year old self took a determined stand against my father and everything changed. I find it interesting that such a powerful moment in my assertion of self is so eclipsed by art and one profound realization about the world.

"Love will keep us together..." Captain & Tennille, 1975

“Love will keep us together…”
Captain & Tennille, 1975

I guess I should have known better.  I was eight years old, but I was still somehow too innocent. I can remember waiting with anticipation for the arrival of  The Sea-Monkey Aquarium package. I know I was eight because I had been working out my plan to get myself into the cinema to see Tommy which was due to open in our town before summer had even begun. It was 1975.  Jaws was playing at the movies and Captain & Tennilles’ Love Will Keep Us Together was always on the radio. My Grandmother had helped me place my Sea Monkeys order shortly after Christmas.

"Caricatures shown not intended to depict Artemia" But no one pointed out the fine print to me!

“Caricatures shown not intended to depict Artemia”
But no one pointed out the fine print to me! By the way, this image is dated 1978, but I got mine in 1975.

I had carefully cleaned a pickle jar, filled it with water and emptied the contents of my Sea Monkey “seeds” expecting to watch whole families of Amazing Life swimming about. They would me my pets! Not like my father’s mean little poodle that had once upon a time been intended for me. These Sea Monkeys would be my friends and my amazing pets!

Oh, for the promise of Sea Monkeys...

Oh, for the promise of Sea Monkeys…

I did eventually notice little specs moving about the jar. My Grandmother’s magnifying glass revealed surprisingly little of these highly uninteresting floating things. There was nothing amazing to be seen.

I think these are brine shrimp.

I was far too embarrassed to admit that I had expected to see multiple happy families just like the advert promised.

You didn’t think they were going to look like the cartoon, did you?

I wanted to say, “Yes, I did.” Instead I said something to the effect that I thought that Sea Monkeys would at least be fun to watch. These lifeless brine shrimp seemed to just float on the top of the water.

Artemia captured in motion for YouTube. The image seems magnified to what I saw in my pickle jar.

Artemia captured in motion for YouTube. The image seems magnified to what I saw in my pickle jar.

I had followed the directions very carefully, but it seemed like the very un-Amazing and practically microscopic brine shrimp were far from being Sea Monkeys.  I was also fairly certain they were already dead. A knotted feeling gripped my stomach as I poured the contents of my pickle jar into the toilet and flushed. Sea Monkeys had only yielded disappointment. Yet there were far darker realizations that took place in my 8th year of life. However the true realizations were  obscured by memories of movies and music.

My father was crazy. I am sure some who read this will think I’m exaggerating but the dude was nuts.

The man who put me through hell was buried six feet under a long while ago. I always thought his absence would bring me peace, but the truth is there are only more things I wish I could say to him. Only more questions I would like to ask. I doubt I would, but it would be nice to have the opportunity.

I do miss him. It would be a massive understatement to write that he had a twisted sense of humor. He was a complete character and a mound of eccentricities balanced on cowboy boots. While almost everything he left me has caused pain, he did gift me with the love of movies. It was a gift delivered in a sadistic manner, but I credit him all the same.

"Take a trip into terror!" One of many amazing films I saw on the adult side of our town's Drive-In. I saw this there in 1975. SISTERS Brian De Palma, 1973

“Take a trip into terror!”
One of many amazing films I saw on the adult side of our town’s Drive-In. I saw this there in 1975.
SISTERS
Brian De Palma, 1973

 

My father had no true sense of the appropriate. Not too long after I drew my line in the sand, he began to take me with him to the movies. He either had no sense or did not care about the content of a movie being inappropriate for a child and movie rating restrictions were always ignored. My mother did not like going to movies much and he did not like going alone. I think I became his movie pal. I sometimes wonder if this all wasn’t possibly an intentional toe over my blood marked line.

It was made clear that I was never to discuss the movies we saw with my mother or Grandmother. Most of these screenings were framed within the context of a shared secret. I did not mind. In fact, I loved going to the movies. Like any kid, I especially loved being able to see the movies that were forbidden to my school friends. My mother would have never allowed me to see most of these movies. However by the time I was 10 years old, she wasn’t too restrictive with me regarding movies. Her concern regarding the warning of the movie rating system seemed to only flare when a film contained a lot of sex. However if I articulated the desire to see a movie I could usually secure her buy in.

"Take her to the prom. I dare you!" Released in 1976, but I saw it in 1977. CARRIE Brian De Palma, 1976

“Take her to the prom. I dare you!”
Released in 1976, but I saw it in 1977.
CARRIE
Brian De Palma, 1976

By 1977 my mother’s own situation had become quite complex. I suspect it was a bit of a relief to drop me off to see Saturday Night Fever or The Rose.  I would usually end up alone at the two screened cinema and would end up sneaking in to see the move playing in the other cinema. This was how I saw Carrie in addition to Network. I know that my mother would have been very concerned had she been aware. Most especially when I was 8 or 9. Actually she would have been very concerned when I was 10. I just don’t think she had the time or the emotional ability to be to actually question or be aware. However, that is another topic. The only self-aware problem I encountered with our Father/Son movie outings was that I quite often did not understand much of what we saw. And he was never interested in explaining anything.

Back in the 1970’s movies never really seemed to have gone out of distribution. It is my impression that distributors just kept a lot of them in circulation to not only Grindhouse cinemas and Drive-In’s, but in pretty much all movie houses outside of major cities across the Americas. I remember thinking that the poster for the other two movies on the first screen looked more interesting, but we were not seeing those. My father considered the two that interested me to be dull. I usually fell asleep by the time the second feature began anyway. I remember Sisters fairly well. The whole movie confused me from beginning to end. It would be years later before I finally saw it as a young teen on VHS.

Like many of the movies we saw, they drifted through my head in confusing ways. Did that really happen in the movie? Why was she taking her clothes off in front of a guy? Was she blind? Were there two of her? Why did the other lady seem to be one of them? It would be well into the 80’s before these questions were answered.

I'm certain I was not the only child to be taken to see this. Swimming at the beach or even in pools would never be the same. JAWS Steven Spielberg, 1975

I’m certain I was not the only child to be taken to see this. Swimming at the beach or even in pools would never be the same.
JAWS
Steven Spielberg, 1975

 

We saw Jaws as a family unit. I saw the giant shark movie with my parents in our town’s nicer cinema. It was a shared terrifying experience. Unlike many of the movies I saw, most of my friends saw Jaws as well. It wasn’t just because I was a kid that this movie altered my perception of Fun-In-The-Sun. I think this film impacted culture ’round the world. Going for a swim would never be the same. The only fears that seemed to be unique to me was that I was convinced that my father had rigged our toilet and bathtub to drop me into The Gulf where sharks waited to kill me in the most painful ways possible.

Like a lot of kids, I was obsessed with Jaws and I taught myself to draw the iconic poster image. I don’t think I’m dreaming — we had a single of this movie’s theme song and I played that 45 rpm a lot! Unlike most of the kids I knew, my obsession came to end when I learned of another movie that was promoted as Coming Soon.

It was a movie that somehow captured my entire being.

 

"Your senses will never be the same..." TOMMY Ken Russell, 1975

“Your senses will never be the same…”
TOMMY
Ken Russell, 1975

 

I am fairly certain I become aware of Ken Russell’s Tommy because of preview I saw at the Drive-In and some odd photographs I noticed in my Grandmother’s copy of People Magazine. I remember knowing that it was Ann-Margret was on the cover. I am so certain of this that I would swear in a court of law. I recall a mention of it regarding Elton John on one of my Grandmother’s favorite talk shows. Did I see that on Dinah! or The Michael Douglas Show? Of this I am unsure, but one thing is solidly real: I had never seen or heard anything quite Tommy the movie. It just looked so incredibly cool and strange to me. And I knew the lyrics to Elton John’s version of Pinball Wizard within hours of having heard it on the radio.

"But I ain't seen nothing like him in any amusement hall. That deaf, dumb and blind kid sure plays a mean pinball!" Note: I have never seen this particular single. I found it on The Internet! Elton John Pinball Wizard Limited Edition 7" single, 1975

“But I ain’t seen nothing like him in any amusement hall. That deaf, dumb and blind kid sure plays a mean pinball!”
Note: I have never seen this particular single. I found it on The Internet!
Elton John
Pinball Wizard Limited Edition 7″ single, 1975

 

I immediately received push-back from all three of the adults in my life. Not even my father was willing to take me to see Tommy. And even though my mother had a couple of Elton John 8-Track Tapes and a Who LP, she was not interested and didn’t felt it unsuitable for a child to see. Initially she could not understand why I would even want to see it.

I just don’t understand why you like that Streisand lady, this weird movie or that ugly Patti Smith band!

My father dismissed my request because it looked like “hippie shit.” I attempted to lie and claimed that Ann-Margret was probably “totally naked!” in it. This did not change his opinion. What is interesting is that my longest pitch to my father was delivered as he parked his mammoth car in the field of the Drive-In to see one of the most notoriously shocking movies of the day.

We saw The Exorcist and a second “weird” movie called Beyond The Door. The lady inside the ticket booth saw me at me seated in the car. She asked my father if he knew that these were R-rated movies and not intended for children. He told her to calm down sell him the ticket. I was curious why we were seeing The Exorcist as I knew that he and Mom had seen it before. It had really bothered my mother and he hadn’t seemed all that impressed. The only answer I got was that he liked the movie. I remember being excited to see something I had heard so many people discuss. I had also been fascinated by the cover of my parents’ copy of the novel.

 

"Mother! Make it stop!" THE EXORCIST William Friedkin, 1973 Cinematography | Owen Roizman

“Mother! Make it stop!”
THE EXORCIST
William Friedkin, 1973
Cinematography | Owen Roizman

I am not trying to defend my father’s taking me to see these two movies, but neither of these movie bothered or scared me as a childMy understanding of religion was somewhat limited. I had seen a crucifix, but at that time in my life I really did not fully understand what it was. My mother had given me a tiny bible when I was about 5 years old, but Jesus looked like a number of cool rock stars. I had been taught to say a prayer before I went to sleep, but this was a perfunctory requirement. I knew the story of Easter and Christmas, but neither meant anything to me. I just liked the candy and wished for certain gifts. Anyway, the only scene in The Exorcist that freaked me out was when Linda Blair began to spout profanity and repeatedly “stabbed” herself with a crucifix. I wasn’t sure what to call the cross with Jesus on it. I do not think I really understood what it was. While I  did have an understanding of human genitalia, I obviously did not fully grasp it.

What is she doing?

Why isn’t she dead?

“Is that the same kid?”

What is that she is stabbing herself with?

“How can she spin her head all the way around?” 

“Is it making the furniture move?”

I do not remember my father answering any of my questions. I do know that he was very quiet for the entirety of movie. As per usual he left the car a couple of times. Was he going to use a bathroom? He seemed like a zombie throughout both screenings.

"The most terrifying event in the history of mankind is about to occur!" Beyond The Door 1974

“The most terrifying event in the history of mankind is about to occur!”
Beyond The Door
1974

I remember thinking he was asleep during Beyond The Door. But he wasn’t snoring and when I poked him he turned to me and said I needed to shut up and leave him alone. The only thing I recall about Beyond The Door is the poster. I did think it looked promising. It still amuses me as an adult. The poster that is. I think the scariest aspect these two movies at that time was the music used in both and the way my father was acting throughout each of them. From an adult perspective the latter was easily the more worrying concern. And I do recall that it was a creepy drive home. It must have been because I still remember it so well.

My world began to open around this time. I had long been attempting to assert my own tastes, but it was 1975  I began to embrace mainstream culture as my own. When my older cousin introduced me to Led Zeppelin, Fleetwood Mac and Grand Funk — I loved what I heard. It was at this time that the idea of a band being called Grand Funk seemed so grown-up and cool. I know it wasn’t a new song at the time, but I took great pride when I selected this single as my father purchased a Willie Nelson album. Upon reflection his purchase was wiser, but I still enjoy the groove of Grand Funk’s take on The Loco-Motion.

"Everybody's doing a brand-new dance, now..." My first cool 45 rpm single! The Loco Motion Grand Funk, 1974

“Everybody’s doing a brand-new dance, now…”
My first 45 rpm single!
The Loco Motion
Grand Funk, 1974

My mother liked popular music and she was already leaning into what seems like disco. I liked that stuff as well. I don’t know if it was actually called disco, but ABBA and The O’Jays seemed cool to me. Though, when I compared LP or 8-Track Tape covers, ABBA, The O’Jays and The Captain & Tennille did not look or sound nearly as cool as Grand Funk, Led Zeppelin or The Who.

Our neighbor had a daughter who was 4 years my senior. I thought her the ultimate in cool for a long time. I drove her crazy, but I suspect I also made her feel important. She would “borrow” record albums from her older siblings. One afternoon I was boasting of owning the Grand Funk single when she told me to wait a few minutes. She left me leaning on a tree, but she returned with an album that totally zapped me into a whole new universe.

"It's only teenage wasteland." The Who Who's Next? 1971

“It’s only teenage wasteland.”
The Who
Who’s Next? 1971

 

Who’s Next sounded completely alien to anything I had ever heard at that point. The music felt like hard rock but it had a booming sort of wired sound. The lead singer sang as if every lyric meant everything to him. And the cover seemed so “dirty” that I agreed with my neighbor.

The Who were far cooler than Grand Funk. In fact they were even cooler than Queen who I had only just discovered. It would be a while before I actually owned the Who’s Next album.

 

"Carry on, carry on, as if nothing really matters..." Queen Bohemian Rhapsody, 1975

“Carry on, carry on, as if nothing really matters…”
Queen
Bohemian Rhapsody, 1975

It was also my cool neighbor who saw Tommy on its opening night. She explained the movie to me scene by scene. I was mesmerized by the idea of Elton John in giant shoes, a TV that spewed Pork & Beans and Tina Turner injecting Tommy with new blood.

(this was how she explained it)

I put my campaign to see Tommy into full running force. It was literally all I talked about when I was around my family unit. My father ignored me. My mother begged me to stop. My Grandmother said that she would take me if only my mother would allow her. (Um, my Grandmother’s comment was not true. She just liked to blame all bad things on my poor, confused and often unplugged mother)

The following weekend after my 12 year old neighbor had laid out the entire plot of Tommy I found myself alone in the car at the Drive-In.

When my father returned to the car he handed me a soda. I had been plugging away with my “I must see Tommy!” assault. I started into it again as the previews began.

That is not the kind of movie that a son of mine should see!

A different kind of X... Iisa: She Wolf of the SS 1975

A different kind of X…
Iisa: She Wolf of the SS
1975

 

 

Cue the first reel of Ilsa: She-Wolf of the SS. I was not frightened by what I saw but I was most certainly shocked. I am not positive that this was an X-rated movie, but it should have been. I had seen violent films, but this one took things to a whole new level. I knew more about Nazis than a crucifix. Nazis were more than just bad, they were evil. And Ilsa was really bad!

I should point out that I have never been able to look away from anything on a screen once a scene starts. I am compelled to watch.

I would not have known the words “fetish” or “grindhouse” but this was most certainly Nazi Torture Porn playing to the lowest human denominator. I don’t know, maybe it would seem camp to me now, but back then I was shocked. I’ve avoided ever seeing this movie again.

My father’s eyes never left the screen except for when he would leave the car. It is probably better that I never figured out what he was doing when he left our car. But he was once again like a zombie. I remember thinking that I should point out that I didn’t think Tommy was as dirty as Ilsa: She-Wolf of the SS but my gut warned me not to speak as we drove home.

 

You know, I'd swear her copy was on an orange tape... "Well you came and you gave without taking." Barry Manilow II

You know, I’d swear her copy was on an orange tape…
“Well you came and you gave without taking.”
Barry Manilow II

 

By this time Tommy had been playing for close to 3 weeks. It was a hit. Back then movies seldom played in my town for more than two weeks. It had been held over for 4 weeks!  My mother was wearing down. She agreed to buy me the soundtrack album – a 2 LP set with a gate fold cover!!!

We drove to a record store. I roamed all over looking for my 2 LP set. I was having no luck. Mom approached carrying her planned purchase: an 8 Track Tape of a Barry Manilow album that contained a song she liked. She consulted with the guy at the counter: they only had the Tommy soundtrack on 8 Track Tape. That was not going to work. I had to have the album in LP format with the gate fold art!

 

Inside the gate fold... TOMMY: The Movie Soundtrack, 1975

Inside the gate fold…
TOMMY: The Movie Soundtrack, 1975

 

Exasperated she called me a spoiled brat, bought her tape and didn’t speak to me until Barry had finished crooning “Mandy” which amazingly was not broken apart by one of the 4 channels of the tape. (8-Track-Tapes were really strange!)

We were already almost home when she told me that we would go to the mall the next day if I would stop talking about the movie.

Maybe I was a spoiled brat. I told her that she had to take me to get the record and that I couldn’t stop talking about the movie unless she took me to see it.  She gave in and turned the car around bound for K-Mart. They had the album. At least the first part of the battle was won!

"Well, I'd certainly say she had marvelous judgment, Albert, if not particularly good taste." Don Johnson and his talking dog A Boy and His Dog L.Q. Jones, 1975 Cinematography | John Arthur Morrill

“Well, I’d certainly say she had marvelous judgment, Albert, if not particularly good taste.”
Don Johnson and his talking dog
A Boy and His Dog
L.Q. Jones, 1975
Cinematography | John Arthur Morrill

 

I was not taken to see Benji like my other friends. For that matter I didn’t get to see The Apple Dumpling Gang. However I was always the coolest kid at school because I got to see the movies that the other kids could only think about! The downside was that some of these movies were simply unknown to the other kids and I couldn’t even articulate what I had seen. I did get to see a movie that featured a cute dog, but  A Man and His Dog was one of those movies that made no sense to my child brain. I had a hard time following this film. My father did point something out to me what I didn’t catch on my own: the boy and his dog ate the girl.

The second feature on this double bill was the only movie that actually upset me:  The Last House on the Left.

I should have been too young to understand much of what was going down on the screen, but this time I did understand. As per usual, my father was dazed out — but this time I was terrified.

I do not remember the ride home. It would take me a couple of decades to revisit Wes Craven’s notorious film.

 

"I thought you were supposed to be the love generation." The Last House on the Left Wes Craven, 1972 Cinematography | Victor Hurwitz

“I thought you were supposed to be the love generation.”
The Last House on the Left
Wes Craven, 1972
Cinematography | Victor Hurwitz

It would be a long time before I made any connection to why Tommy and the respective soundtrack album resonated so deeply for me. It was all I listened to at this time in my life. I loved side 2 on record 1 the most. By this time we were headed to summer. It was getting really hot. My father took me to a twin cinema instead of the Drive-In. We saw Hal Ashby’s Shampoo.

Yet another film I failed to understand. It is funny thinking back to this as Shampoo a movie with which I’ve had to spend a good deal of time. I love it now, but at 8 years old I just wanted to be sure I understood what a “cock” was and why did the pretty lady want to suck one. My question caused a spasm of laughter throughout the cinema. It also led to a well-intentioned woman attempting to lecture my father for having taken a “little boy” to “such a movie.”

What is that and why does she want to suck it? Julie Christie and Warren Beatty Shampoo Hal Ashby, 1975 Cinematography | Laszlo Kovacs

What is that and why does she want to suck it?
Julie Christie and Warren Beatty
Shampoo
Hal Ashby, 1975
Cinematography | Laszlo Kovacs

He had to stop and let her correct him. He was a polite, “Well Lady, you are here seeing it so I guess it can’t be that bad?

As for me I had moved to the other side of the cinema’s lobby. I was studying the poster for movie that was playing in Cinema One. The strange doubled image of Roger Daltrey wearing the Blind Deaf & Dumb contraption was like a beacon to me. I could hear Jack Nicholson attempting to sing as I looked. Before we had even reached the car I was advised I would not be seeing “that fucking movie!

Just two days before it closed I did get to see Tommy.

"Gather your wits and hold on fast, Your mind must learn to roam." Tina Turner is The Acid Queen TOMMY Ken Russell, 1975 Cinematography | Dick Bush

“Gather your wits and hold on fast,
Your mind must learn to roam.”
Tina Turner is The Acid Queen
TOMMY
Ken Russell, 1975
Cinematography | Dick Bush

 

Drugs as a way to escape the pain. "I'll tear your soul apart..." Roger Daltrey TOMMY Ken Russell, 1975 Cinematography | Dick Bush

Drugs as a way to escape the pain.
“I’ll tear your soul apart…”
Roger Daltrey
TOMMY
Ken Russell, 1975
Cinematography | Dick Bush

 

The coolest platform shoes on record... Elton John is The Pinball Wizard TOMMY Ken Russell, 1975 Cinematography | Dick Bush

The coolest platform shoes on record…
Elton John is The Pinball Wizard
TOMMY
Ken Russell, 1975
Cinematography | Dick Bush

 

Tommy studies his splintered selves as his mother worries and his step father calculates things to his advantage. Ann-Margret, Roger Daltrey and Oliver Reed TOMMY Ken Russell, 1975 Cinematography | Dick Bush

Tommy studies his splintered selves as his mother worries and his step father calculates things to his advantage.
Ann-Margret, Roger Daltrey and Oliver Reed
TOMMY
Ken Russell, 1975
Cinematography | Dick Bush

I finally got to see the movie thanks to my mother. I didn’t really understand all that I saw.

Why was his mother working with all those women? What is a “Holiday Camp?” Is that like a Marilyn Monroe church? Why is Tina Turner taking out blood and shooting more in? What is a “Pinball Wizard” anyway? Why do all those people want to be “Blind, Deaf and Dumb?”

I did understand a couple of things. I understood that Tommy was trapped. I understood that he was trying to escape pain. I understood what Uncle Ernie was doing — and I was relieved it was treated comically. Interestingly, I did not  connect the film to myself. That understanding would dawn much later.  But the great music, camera work and consistently strange set designs took hold of me from first image and sound until the end credit cards hit the screen.

Tommy was completely unique to anything I had ever seen. The same was true for the rest of the audience.

Even in a small Texas town, the kids were totally into what Ken Russell was showing. My neighbor pointed out that her boyfriend had gotten stoned and watched it four times. I wasn’t sure I understood what she was talking about, but there was a strange aroma coming from a few odd cigarettes being shared in the audience.

But all of this aside, it is interesting how strongly this move held me in its grip. This was my Star Wars. This film was speaking to me.

"It out-Tommy's TOMMY!" Lisztomania Ken Russell, 1975

“It out-Tommy’s TOMMY!”
Lisztomania
Ken Russell, 1975

 

Not too long after I finally saw Tommy, my father took me to another movie. There was a big movie theatre in our town to which we seldom went. It was not in the best part of our town though it was fairly close to the college. It tended to get older movies that were probably too sophisticated for my father’s taste. He would end up taking me to see three movies there. The first movie we saw there was in 1975. The other two we would see there would be during the period my parents were divorced. Those two movies were also wildly inappropriate for a child to see: Dressed To Kill and Cruising.

But in 1975 my father was swayed to another rock musical staring The Who’s Roger Daltrey: Lisztomania.

 

Franz Liszt becomes "inspired." Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

Franz Liszt becomes “inspired.”
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

 

The reason he was swayed? A Playboy Magazine pictorial promoting the movie as an erotic filled fantasy. Of course this would propel my father to take his 8 year old child to see it. I was thrilled and excited to see Lisztomania. I was already becoming a bit of cinephile. I recognized Ken Russell’s name. I saw that the movie poster referenced Tommy. And I also recognized Ringo Starr and Rick Wakemans’ names.

 

Ringo Starr is The Pope Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

Ringo Starr is The Pope
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

 

I doubt I would have even known about this movie if my father had not taken me to see it. I had seen the soundtrack LP, but had not been able to get near enough to understand what it was. I had recognized Roger Daltrey on its cover, but I don’t think I was aware that it was a movie soundtrack.

"The Soundtrack Album of the Ken Russell Film" Lisztomania 1975

“The Soundtrack Album of the Ken Russell Film”
Lisztomania
1975

I used to study the movie section of the city newspaper. I remember that Lisztomania closed after 3 days. I didn’t understand it was based on historical facts. I had not heard of Franz Liszt. I knew of the Pope, but I didn’t really understand what he did. I was fascinated by the film’s visuals and the strange mix of music. I knew who Hitler was, but I didn’t understand why he showed up. The whole movie was like a dirty cartoon. I loved it. And I wanted Roger Daltrey’s boots.

As we left the theater my father was not zombie like at all. He was annoyed. I tried to ask him some questions, but all he wanted to do was complain about “hippie bullshit” and that there “was no sexy stuff” in it. As he drove onto the highway I did ask him something that was bothering me:

Why was it OK for me to see that but not OK for me to see Tommy?

To my surprise he actually answered me.

I didn’t want to see Tommy.

"That deaf, dumb and blind kid sure plays a mean pinball." Elton John TOMMY Ken Russell, 1975 Cinematography | Dick Bush

“That deaf, dumb and blind kid sure plays a mean pinball.”
Elton John
TOMMY
Ken Russell, 1975
Cinematography | Dick Bush

 

I owe my knowledge and love of cinema to my father, but it was at this moment that I realized it was never about me. These were not movies we were seeing together — these were movies he wanted to see and I was being taken along for the ride. Ten years later he asked me to go to Houston with him to see a movie. I agreed. Turned out it was a foreign film I had wanted to see. He slept through the entire film. I found it somehow touching that he was attempting to somehow connect with me by taking me to see a movie I wanted to see. As we left the cinema I was about to thank him when it turned out we were actually in Houston so he could meet up with a seller regarding some guns he wanted to buy. I was needed to load the car and figured a movie was a good way to kill time and avoid rush hour traffic.

Glad you wanted to see it, though. I didn’t much care for it.

Perhaps I owe more credit to my love of film and my endless pursuit to understand the whole “picture” to Ken Russell. It was Lisztomania that propelled me to look into classical music and history. Tommy had also led me to find more of his films once the age of VHS began. I read interviews with Mr. Russell that pointed me toward other filmmakers like John Ford, Nicolas Roeg and others. But I would have never been connected to the world of movies had it not been for my insane father.

Do you think it's alright? Roger Daltrey and Ann-Margret search for saving grace... TOMMY Ken Russell, 1975 Cinematography | Dick Bush

Do you think it’s alright?
Roger Daltrey and Ann-Margret search for saving grace…
TOMMY
Ken Russell, 1975
Cinematography | Dick Bush

I destroyed the last of my journals yesterday. As I watched them denigrate I was brought back to the moment I flushed the disappointment of Sea Monkeys away. After the water had pushed the brine shrimp from my life, I took the empty pickle jar for a walk past our back yard. I raced down and up the other side of the ditch to the railroad tracks. I sat the pickle jar on a track. I ran down and back up to return to our side of the ditch. I crouched down and waited for the train. When is sped by the pickle jar was smashed into thousands of glass pieces.

A dream was crushed that would require me to wear my flip-flops instead of going barefoot for a long while.  The promise of Sea Monkeys was hollow, but the idea of them was still pretty fucking cool.

Matty Stanfield, 5.21.2016

No one quiet knew what to think when Ken Russell's surrealistic absurdist comedy-rock musical opened in 1975. However a number of smart university students got in line to drop a bit of acid with their popcorn as the movie unspooled... LISZTOMANIA Ken Russell, 1975 (The UK Poster)

No one quiet knew what to think when Ken Russell’s surrealistic absurdist comedy-rock musical opened in 1975. However a number of smart university students got in line to drop a bit of acid with their popcorn as the movie unspooled…
LISZTOMANIA
Ken Russell, 1975
(The UK Poster)

I love movies. All types of movies, but most those of the Art House variety. Among the world of serious cinephillia, British filmmaker Ken Russell often causes a sort of frantic run to the nearest Exit. While nearly all will agree that his early BBC films and his adaptation of D.H. Lawrence’s Women In Love are brilliant. The rest of his work is generally regarded as excessive and hysterical madness. In the last decade a new found appreciation has evolved for his still controversial critique of merging Church and State, Catholicism, religion and the human tendency toward cruelty in his 1971 film, The Devils.

Your senses will never be the same... Ken Russell's biggest commercial success would end up elevating the concept of something we would call "the music video." TOMMY Ken Russell, 1975

Your senses will never be the same… Ken Russell’s biggest commercial success would end up elevating the concept of something we would call “the music video.”
TOMMY
Ken Russell, 1975

His biggest commercial success was the filmed rock opera, Tommy. Released in 1975, film critics had a hard time dismissing it. Nothing had shown up on screens quite like it. 40 years later this loud and hopelessly entertaining film is still regarded as the perfect marriage of Ken Russell cinematic urges and mid-1970’s rock culture. That same year, feeling inspired and with a bit of film industry power he had never enjoyed, he went for the pop culture jugular: He made Lisztomania.

If you should find yourself in a room of film loving intellectuals and bring up this notorious big-budget major studio released rock musical flop, you will either encounter smirking laughter or a total silence of seething judgement. I have never really seriously cared what people think of me.

Though, I do hate it when someone thinks me to be a mean-spirited person. That I am not.

But am I a fan of Ken Russell? Yes. Do I love Russell’s odd cinematic error that is Lisztomania? Oh, yeah. I love it.

"Well, this will teach you not to BANG on the piano!" Says The Count before extracting his revenge for catching Roger Daltrey and Fiona Lewis going at it. Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

“Well, this will teach you not to BANG on the piano!”
Says The Count before extracting his revenge for catching Roger Daltrey and Fiona Lewis going at it.
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

I fully embrace the insanity that is Lisztomania. I bow my head in awe that there was ever a time in the history of Warner Bros. that they would fully engage, promote and full scale release a movie like Lisztomania. While I know the film is more than a little problematic, I struggle to understand how anyone could refute the uniqueness of this crass bit of Pop Art. I struggle even more to understand why anyone would not enjoy the insane logic of it’s existence. And my jaw drops when someone tells me that they find it dull.

Well, here I do exaggerate. Only two people have ever told me that they were bored by Ken Russell’s Lisztomania. And both of these people pointed out that they found the first 15 minutes of the movie dull. Once Roger Daltrey’s cockney-accented take on Hungarian/German composer, Franz Liszt. True enough, the only even minor slow-paced moment in the film is a concert in which Daltrey entertains an audience of mostly young female fans swooning and screaming if at a rock concert. The scene does seem a bit out of place in the film, but it makes sense given the point that Ken Russell is attempting to make.

Marie d'Agoult fumes as her lover, Franz, pulls on his rock star platform boots to head off on yet another tour to be filled with groupies and fun... Fiona Davis / Roger Daltrey Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

Marie d’Agoult fumes as her lover, Franz, pulls on his rock star platform boots to head off on yet another tour to be filled with groupies and fun…
Fiona Davis / Roger Daltrey
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

And, of course, prior to this concert sequence, we are treated to a British Music Hall-sylte (the British version of similar to American vaudeville theater) gone into the profane and raunchy. The opening of the film features Count d’Agoult catching his wife, Marie, enjoying frantic sex with her piano tutor, Franz. Nude and silly antics ensue accompanied by a from of sort of Gaelic-Country musical narration. End all ends with the count having poor Marie and Franz placed nude inside a piano as the Count plays chords. Franz is panicked and Maria seems to be gaining a bit of, well, pleasure from some of the piano banging.

Suddenly they are nailed into the piano left on train tracks about to face their death. Cut to a backstage gathering of some of the great European composers, artistes and groupies awaiting for Franz to take to the stage. Enter a young, idealistic and ambitious Richard Wagner who attempts to pimp his music to Franz.

It is all quite over-the-top, silly, illogical, surreal and just straight-up weird. Please note: This was all Ken Russell’s intent. Everything in Lisztomania is intentional, profane, silly and often spastic.

Who needs the old tired religious icons of dull saints and martyrs when we can worship St. Elton and St. Pete? Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

Who needs the old tired religious icons of dull saints and martyrs when we can worship St. Elton and St. Pete?
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

As Russell had just wrangled the Rock God Machine that was/is The Who to create the movie, Tommy, — he noted several similarities to the level of decadence and public sensation that followed the band and it’s lead singer to that of classical composer, Franz Liszt. It dawned on Russell that when one reads accounts of Franz Liszt’s career one could easily draw comparisons that form the idea that Liszt was in many ways the world’s first Pop Star.

Kissing The Holy Cowboy Boot of The Pope and all of his movie star saints... Roger Daltrey and Ringo Starr's foot Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

Kissing The Holy Cowboy Boot of The Pope and all of his movie star saints…
Roger Daltrey and Ringo Starr’s foot
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

True enough. Liszt had legions of young women who would fight their way into the places he performed. These women were fanatical in the way they would behave as Liszt played his piano. Screaming, swooning and often having to be restrained from trying to touch the renowned artist. And if one is to believe commentary of his day, Franz Liszt quite enjoyed the attention. In the early 1800’s German Essayists and Cultural Critic, Heinrich Heine, coined the term “Lisztomania” to describe the hysteria that the composer’s playing, music and mere presence seemed to drive many of his female listeners to hysterical reactions and distractions. However, it should be pointed out that this was not really given the same levity as Beatlemania in the early to mid-1960’s. The idea of “Pop Star” or “Rock Star” and “Celebrity” had no where began to take hold of culture. This seemed more like a strange temporary illness than a “normal” fever-pitched reaction to a performer.

Soothing his audience of demanding female fans... Roger Daltrey as Liszt Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

Soothing his audience of demanding female fans…
Roger Daltrey as Liszt
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

Female audience members of Liszt’s piano performances were known to scream his name, swoon, attempt to climb onto the stage, scream out demands that he play the piece we all know as “Chop Sticks” and often followed him about in hopes of grabbing a tossed cigar butt to stuff down their blossoms. Up until his early 30’s Liszt was known to play the piano standing and often jump from behind the piano to speak to his audience. He was also never too far from scandal. His on-going and tempestuous affair with Marie d’Agoult was the cause of much rumor and discussion. Interestingly this only served to promote his popularity. Then there was Russia’s Princess Carolyn’s patronage and obsession with him and his work. Later in life he suffered the indignities of a piano student, Olga Janina, who could be called the first known insane “Fan Girl” who wold break into his home, steal personal belongings, stalk and even write controversial books about him. She wrote these more to get his attention than for profit.

The fans want more than music from Franz... Roger Daltrey Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

The fans want more than music from Franz…
Roger Daltrey
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

His daughter, Cosima, would go on to marry Richard Wagner. Wagner’s interests were not limited to music, but also to philosophy. A philosophy which was alarmingly worrying in it’s view of German superiority. Cosima was quick to pick up and fuel her husband’s ideals about German cultural and racial superiority. She is largely to credit with the establishment and curation of the Bayreuth Festival. This festival became more about promotion of philosophy that would lead into pure antisemitism. This would continue to grow as Germany entered the NAZI Era. Cosima died in 1930. Without question, the legacy of she and Wagner’s Bayreuth Festival remains controversial to say the very least.

Devoted daughter turns into Super Evil Goddess, Cosima finds some new uses for the doll created in the likeness of her dad, Franz. Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

Devoted daughter turns into Super Evil Goddess, Cosima finds some new uses for the doll created in the likeness of her dad, Franz.
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

All of this strange history wrapped up in the lives of classical music composers was like a magnet to Ken Russell. Russell adored the biography film, but never limited himself to the typical “by-the-numbers-film-rule-book” when making them. Far more concerned about creating the passion and ideals of the artists’ works than sticking to traditional narrative, Russell’s composer bio films are unusual in the way in which he approaches their lives. He viewed the artist as rebel.

Capturing it all, and given more freedom of expression than any other filmmaker had yet to allow him, Peter Suschitzky’s work truly shines in this movie.

Super Ego translates to an erection beyond expectation and worthy of a British Hall musical dance. Roger Daltrey and his Rock Cock Rock Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

Super Ego translates to an erection beyond expectation and worthy of a British Hall musical dance.
Roger Daltrey and his Rock Cock Rock
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

But when he made Lisztomania, he threw out all sense of logic. He become unhinged as he crafted a a sort of Pop Culture Comic Book movie about the life of Franz Liszt. The logic of any adherence to history time lines is absent. Franz List starts out as a sexy, raunchy and sex-crazed rock star. Soon he retreats to find his spiritual core only to be called out to defend not only the sanctity of music, but his emerging arch-enemy, Richard Wagner, breaks into his spiritual isolation to feed off his talent filled blood. Like a vampire, Wagner sucks a good deal of life force from Liszt.

Paul Nicholas as Wagner turned Artistic Vampire out for Franz's special creative force blood... Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

Paul Nicholas as Wagner turned Artistic Vampire out for Franz’s special creative force blood…
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

Wagner sets out with Franz’s daughter, Cosima. They form a Nazi Cult! The Pope, played by Ringo Starr, calls on Franz to perform an exorcism to rid Wagner of the demon that has possessed him. Franz, playing at being a priest, kisses the cowboy boot of the bedazzled Pope, kicks his lover – Olga Janina (played by Little Nell) to the curb – and meets Wagner’s attempt at a German God Creation, THOR, (played by Yes’ Rick Wakeman) – this creation is a joke. The exorcism backfires. Through Cosima’s evil magik, Wagner rises up from Hell as The Hitler Monster and it is up to Franz and his harem of beautiful lovers and assorted groupies to fly down from Heaven in a rocket ship and blast Evil Old Wagner to bits!

Adorned with Saints Judy Garland, Monty Cliff, Elvis & Marilyn -- Ringo Starr is Your Pope! Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

Adorned with Saints Judy Garland, Monty Cliff, Elvis & Marilyn — Ringo Starr is Your Pope!
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

Along the way, Ken Russell injects more glitter and wacked-out visionary trip-outs faster than a mood ring changes colors. Franz slips into Princess Carolyn’d vaginal canal, comes out to the sirens of former lovers who manage to tease his penis out to gigantic proportions. Sporing a hard-on of about 8 feet, a an old-school Vaudeville like dance number ensues. Believe it or not, the set pieces just continue to amp-up until Ken Russell’s Franz Liszt saves the world from Nazis.

Little Nell watches unimpressed as Ringo The Pope warns Roger Daltrey's Liszt of Wagner's turn to the dark side... Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

Little Nell watches unimpressed as Ringo The Pope warns Roger Daltrey’s Liszt of Wagner’s turn to the dark side…
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

And, just to make it all the more odd, Rick Wakeman re-arranges the music of Liszt and Wagner to early-electro-prog rock with Roger Daltrey supplying of so very modern lyrics. A&M Records and Warner Bros pimped the soundtrack album hard and released a single. The original vinyl is now a collector’s item, but Rick Wakeman re-mastered it all and released via iTunes in 2005.

Rick Wakeman gives Liszt & Wagner the FM Prog-Rock treatment for the soundtrack of Lisztomania. A&M Records, 1975

Rick Wakeman gives Liszt & Wagner the FM Prog-Rock treatment for the soundtrack of Lisztomania.
A&M Records, 1975

The movie bombed and the soundtrack failed. If you want to see the movie, you will need turn to the Warner Archive for a fairly solid transition to DVD.

http://www.wbshop.com/product/lisztomania+1000336824.do?sortby=ourPicks&refType=&from=Search

If you have a multi-region DVD player, you can still find a limited edition printing out of the UK. The quality of the UK print is fantastic and features a rambling commentary track by the great Ken Russell himself recorded not too long before his passing.

Wagner rises from Hell as The Nazi Super Monster. Only Franz and his groupies can save the day! Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

Wagner rises from Hell as The Nazi Super Monster. Only Franz and his groupies can save the day!
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

Lisztomania is not a great movie. Despite moments of true brilliance and experimental cinema, it is ultimately a cinematic error that holds an interesting bit of merit. This is a movie that stretches so far beyond the boundaries it is hard to use any normal criteria for judging it. It is a crazy and oddly entertaining film that sits by itself. Surrealistic, Absurdist, Satire and Super Hero Comic Book mess of a movie. It has most certainly become a Cult Movie, but it is a bit too intellectual to fully fit into the “So bad it’s good” ideology. And it is far too silly to be taken at all seriously.

Franz looks on as Wagner readies to "turn on" his creation of German Perfection. Played by Rick Wakeman, Wagner's creation drinks a whole lotta beer, belches and literally takes the piss on the floor... Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

Franz looks on as Wagner readies to “turn on” his creation of German Perfection, THOR! Played by Rick Wakeman, Wagner’s THOR drinks a whole lotta beer, belches and literally takes the piss on the floor…
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

It sits all alone as a film completely unique unto both itself and to the Film Artist who was Ken Russell.

This is my last defense of one of my favorite movies. I’ve intentionally tried not to give too much of the film away. My hope is that someone who has not seen it will venture to see it.

Comforted only be the boob of Little Nell, Franz finds little comfort in the isolation of the Catholic Church. But hold steady, Pope Ringo is on the way... Roger Daltrey / Little Nell Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky

Comforted only be the boob of Little Nell, Franz finds little comfort in the isolation of the Catholic Church. But hold steady, Pope Ringo is on the way…
Roger Daltrey / Little Nell
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky

From time to time the unedited R-rated film shows up in full on YouTube, tho Warner Brothers is rightly quick to yank it off. I do not expect we will ever see this film restored.

However, it’s fanbase continues to build. Just search the Internet.

Alone, odd, wacky, profane, and rocking to it's own beat -- This odd cinematic error stands alone. Lisztomania Ken Russell, 1975 Cinematography | Peter Suschitzky (US Original Movie Poster)

Alone, odd, wacky, profane, and rocking to it’s own beat — This odd cinematic error stands alone.
Lisztomania
Ken Russell, 1975
Cinematography | Peter Suschitzky
(US Original Movie Poster)

Rock on.

Matty Stanfield, 9.25.2015