Half a century on from the sublimely ridiculous Tommy, the passionate abandon that distinguished Russell’s films – from composer biopics to the infamous The Devils, among other bonkers oddities – is needed now more than ever

This month marks the 50th anniversary of the release of one of the most important and groundbreaking pop movies of all time: Ken Russell’s psychedelic screen adaptation of the Who’s rock opera Tommy (1975). Marketed with the eye-catching tag lines “Your senses will never be the same” and “He will tear your soul apart”, the film starred Roger Daltrey as the traumatised kid who becomes a Pinball Wizard and (more importantly) a cult messiah.

Blending themes to which Russell would return throughout his career (the transformative power of music; the alchemical madness of genius; the dark power of false religion), Tommy was a typically wild ride that swung between the sublime and the ridiculous. Among its most memorable set pieces were Elton John in mile-high bovver boots getting trashed at the pinball table; Tina Turner’s Acid Queen blowing Daltrey’s mind with a hallucinogenic Metropolis-style robot suit filled with needles and snakes; and Oscar-nominated Ann-Margret writhing in a sea of washing powder foam and baked beans that spews from her exploding television set. Pete Townshend earned an Academy Award nomination for the film’s music, intended to be played in an ear-bleeding Quintaphonic sound mix for which most cinemas were totally unprepared (Russell told me on multiple occasions that very few audiences who saw Tommy heard the movie the way it was intended).