Keith Moon Movies

Oscar-winning filmmaker Murray Lerner and co-director Paul Crowder draw on the essential themes of The Who's music and lyrics to craft a definitive audio-visual document of the influential band's timeless legacy. From their origins as a 1960s R&B cover band to their transformation into the band that changed the course of rock and roll history, Pete Townshend, Roger Daltrey, Keith Moon, and John Entwistle's unstoppable, arena shaking juggernaut is followed as the men behind the music experience triumph and tragedy over the course of the following decades. Authorized by the band, the film speaks with family and friends to explore the meteoric rise of The Who as unreleased performance footage from Monterey, Woodstock, The Concert for NYC and other landmark concerts show fans the scenes that, until this release, they have only been able to read about. ~ Jason Buchanan, Rovi

This comedy presentation by Frank Zappa features a behind the scenes look at the making of this video. ~ Rovi

This film version of the Who's rock opera Quadrophenia makes a few tentative stabs at "explaining" the alienation of 1960s British working-class youth, but its major selling point is its nonstop rock-and-R&B musical score, including the hit single "Love Reign O'er Me." Phil Daniels (replacing the original opera's Roger Daltrey) plays Jimmy, a member of a well-dressed, drugged-up teenaged gang called the Mods, forever duking it out with the cycle-punk Rockers. The rivalry between the two gangs comes to a head during three tempestuous days in the seaside town of Brighton. Here Jimmy makes love to lovely local Steph (Leslie Ash), and forges a strong friendship with unofficial Mod leader Ace Face (Sting). A series of disappointments and setbacks in his own London neighborhood convinces Jimmy to return to Brighton to pick up the pieces. If you aren't fascinated by the visual pyrotechnics of Quadrophenia, just close your eyes and revel to the soundtrack music of the Who, James Brown, Marvin Gaye, the Chiffons, Manfred Man, and many others. ~ Hal Erickson, Rovi

Mae West (1892-1980) was perhaps the original comic sex goddess of American cinema. Originally a vaudeville performer, she became a national sensation following her 1926 Broadway show Sex, which she wrote, produced, directed and starred in. She continued to outrage the sensibilities of her time on Broadway before coming to Hollywood and doing the same there throughout the 1930s. She perfected her double entendre humor onscreen and gradually fell out of favor with an increasingly prudish film-going public, though her career underwent several brief revivals. Even as an extremely old woman, she affected the manners and dress of a reigning sex queen. The 1978 release of Sextette, based on her own original scenario, marked her final screen appearance. It was not well received by critics nor the public, and was an undignified note on which to end her sensational career. In this farcical and star-studded film, West plays the fading movie star Marlo Manners, whose attempts to consummate her marriage to Sir Michael Barrington (Timothy Dalton), her sixth husband, are humorously interrupted by the preceding five. Marlo is also dictating the unexpurgated story of her life, and when one of the tapes goes missing, it threatens to cause an international incident, as well as ruining a number of reputations (including her own). ~ Clarke Fountain, Rovi

Tommy (Roger Daltrey) is a "deaf, dumb and blind kid" who retreats into himself after the death of his father. His mother, Nora (Ann-Margret), and stepfather Frank (Oliver Reed) take him to see a specialist (Jack Nicholson) but Tommy is apparently a hopeless case. That is, until Tommy discovers that "he sure plays a mean pinball." Tommy gains fame when he defeats the Pinball Wizard (Elton John) for the world championship. As a result, Tommy becomes such a celebrity that he even founds his own religious cult. But his fans begin to commercialize his fame, while Tommy wants to stick to the straight and narrow. When Tommy wants to end the commercialization of his message, his supporters accuse him of being hypocritical and turn on him. Ann-Margret, with a slinky red dress slit way up the side, was nominated for a Best Actress Oscar, losing out to Louise Fletcher in One Flew Over the Cuckoo's Nest. ~ Paul Brenner, Rovi

Freddie Francis' Son of Dracula, not to be confused with the 1943 film featuring Lon Chaney, Jr., is a minor curiosity, an attempt at a comedic, modern-day vampire story that is most notable for its eccentric casting and pop soundtrack. The title role is played by singer and songwriter Harry Nilsson, in his only leading role. Nilsson would later claim he considered the script "awful," but took the part for the chance to work with close friend Ringo Starr. Starr co-stars as Merlin the Magician, who is friend, assistant, and head astrologer to Nilsson's Count Down. The Count has recently inherited his father's title as ruler of the netherworld, and all the monsters are already arriving in London for the coronation party. Still, though, Count Down is unsatisfied; it seems he's a budding composer, more interested in music-making than evil-doing. When he falls in love, The Count considers giving up his immortality for the sake of a normal life. But first, he and Merlin will have to outsmart the nefarious Baron Frankenstein, who has his own plans for the Count. The film includes a performance of Nilsson's hit single "Daybreak." ~ Judd Blaise, Rovi

Less a movie than a purposely crude series of musical vignettes and inside jokes for die-hard fans, Frank Zappa informs viewers in the opening scene that "Touring can make you crazy, ladies and gentlemen, and that is what 200 Motels is all about." The rest of the plot-less production is filled with more self-reflexive reminders, as the close-up eye and tape recorder signal that Zappa is watching everything his bandmembers are doing. Reasonably, the Mothers of Invention make up the cast, notably Jimmy Carl Black, who repeatedly remarks how he just wants to quit the band and go play real music, have a beer, and get laid. The character of Jeff, played by Martin Lickert, was written for bassist Jeff Simmons, who actually did quit the band just prior to shooting. Other cast members include real-life groupies appearing in some bizarre nudity sequences, along with the Who's drummer Keith Moon as the Hot Nun who overdoses on drugs. Ringo Starr appears as Larry the Dwarf and lends some humorous narration, but that does not clarify any of the proceedings. The action supposedly takes place in Centerville, which is really a kind of poorly dressed set guarded by soldiers. The scenes are randomly assembled and interspersed with performances, including the songs "Lonesome Cowboy Burt," "Magic Fingers," and "Strictly Genteel." ~ Andrea LeVasseur, Rovi

The first concert film of the rock & roll era, Monterey Pop is an invaluable record of some of the major musical figures of the late 1960s. The organizers of the Monterey International Pop Festival, held June 16-18, 1967, wisely chose to record the proceedings on film for commercial distribution. Even if some of the festival's big acts -- The Byrds, The Grateful Dead, and Buffalo Springfield -- didn't make the final cut for various reasons, the roster of performers who did reads like a who's who of the era: Jimi Hendrix, Otis Redding, The Who, Jefferson Airplane, Big Brother and the Holding Company (featuring Janis Joplin), Simon & Garfunkel, and The Mamas and the Papas (that group's leader, John Phillips, was one of the festival's principal organizers). The festival's "international" tag is well-earned by one performer in the film: Ravi Shankar, whose final-day performance was one of the festival's highlights and closes the movie on an exuberant note. Though the festival seemed to be anticipating nearby San Francisco's Summer of Love, the film chooses to concentrate on the musical performers, with only brief intimations of the burgeoning counterculture. ~ Tom Wiener, Rovi