There’s a reason wholesome
Aussie thrush Olivia Newton-John seemed so comfortable on camera in her first
major American movie, the blockbuster musical Grease (1978). Unbeknownst to stateside audiences, she’d been
acting in English movies and TV shows for several years, following her debut
performance in the obscure Australian picture Funny Things Happen Down Under (1965). The most noteworthy of
Newton-John’s pre-Grease credits is Toomorrow, a bizarre hodgepodge of music
and sci-fi that has a small but cultish fan base.
Playing the movie’s female
lead, Newton-John displays every aspect of her G-rated appeal, singing and
go-go dancing through her performance as a girl-next-door coed who performs in
a band called Toomorrow while wearing a succession of miniskirts and
short-shorts. Blonde, ebullient, and smiling, she’s a vision of virginal
sexiness, whether she’s delivering unfunny one-liners, playing vacuous music,
or simply hanging out with the aliens who abduct Toomorrow. Yeah, aliens.
Written and directed by Val Guest, a UK fantasy-cinema veteran whose credits
include The Quatermass Xperiment
(1955), Tomorrow begins in outer space.
Against a backdrop of trippy incidental music, a glowing spacecraft hurtles
toward Earth and fetches the human-looking John Williams (Roy Dotrice) from his
English estate by way of a glowing transporter beam. Once aboard the starship,
John strips off his human shell to reveal that he’s a blue-skinned, slit-eyed
alien, and that he’s the “Earth observer” tasked with identifying interesting
developments by the human race. According to him, there haven’t been any—but
then he’s told by fellow aliens that a new rock group, Toomorrow, has invented
musical vibrations deemed crucial to the survival of the alien race.
John
resumes his human guise and woos the band by pretending to be a musical
impresario. The band members, who are students at the London College of Arts,
also get embroiled in a murky subplot involving campus protests. Guest vamps
through several dull scenes of Toomorrow making lighthearted mischief (a wan
riff on the Beatles’ signature tomfoolery), before the plot gets going. In a
typical scene, drummer Benny (Benny Thomas) asks a lunchroom full of students
if they mind listening to a rehearsal by calling out, “Hey, any of you cats
mind a groove?” Naturally, they don’t, so the tacky lip-synching commences, since
every number Toomorrow performs is a perfect studio production.
The best tunes
have some kick, although the band’s musical bag is a totally squaresville vibe
that recalls vanilla pop groups like the Association, and the music is ultimately
the least interesting element of the movie. More arresting are the sci-fi bits,
like the scene in which the band members get tossed around a spaceship in slow
motion while regressing back and forth to their childhood selves. And then
there’s the sex. Guest indulges his randy side with lots of peekaboo glimpses
at buxom supporting players. For instance, outrageously curvy British starlet
Margaret Nolan appears as Johnson, an alien masquerading as an earth girl in
order to seduce band member Vic (Vic Cooper), the band’s resident tomcat.
How all this is supposed to add up is a mystery. The musical numbers get overshadowed by narrative nonsense, the sci-fi content
is too geeky for casual viewers, and the smut feels out of character with the rest of the movie. Therefore, the
amazing thing about Toomorrow is that
it exists—did the producers even read
Guest’s script? It’s no wonder Newton-John distanced
herself from this strange flick, and it’s no wonder Toomorrow has yet to receive proper worldwide distribution.
According to Wikipedia, the movie played for just one week in London during
1970, and then sat on a shelf (excepting bootleg copies) until receiving a
UK-only DVD release in 2011.
Toomorrow:
FREAKY