Rollerball

At first glance you'd never guess the same director who did the wonderfully charming "Fiddler on the Roof" would turn around 2 years later and do the dark, dystopian chiller "Rollerball". But he did.

But in both films, we see the same powerful strategy: a complex, philosophical brain-twister beneath a deceptivly simple exterior. "Fiddler on the Roof" was seemingly a linear story about a struggling Jewish family's good & bad times. But the real meat of the story was about the conflict between old ways and new (tradition vs. progress). Here in "Rollerball" we have another seemingly linear story about an athlete in a violent, futuristic sport. But the real meat is the conflict of brutal human nature vs. suppression (again, a sort of "tradition vs. progress"). As with "Fiddler on the Roof", director Norm Jewison doesn't hit us over the head with any preachy sermon but instead leaves us to digest the situation.

"Rollerball" has the same powerful, brooding quality that we see in many of the 70s scifi masterpieces, like "THX 1138", "Soylent Green", "Planet of the Apes", "Blade Runner" (yeah I know that one was 1982), and the one that started them all, "2001: A Space Odyssey". Cold, sterile sets, disturbing situations and powerful use of silence characterize these films. By today's standards they might be considered slow, but depending on how you like your scifi, that might be right up your alley.

In a nutshell, the story is about a futuristic society that has largely done away with civilian violence. It has done this by "subsidizing" violence by way of a global pasttime: a hyper-violent sport called Rollerball. Note: as a parallel story, we learn that cut-throat corporate competition has been similarly squelched by the government creating monopolies. And thus society finds peace. Or does it? You can probably see the brilliant metaphors being woven here. This isn't an ordinary scifi romp, it's a powerful socio-political allegory. It cuts to the heart of human nature the way the great writers H.G. Welles, Mary Shelley and George Orwell did. No, you won't see a lot of laser battles, spaceships and aliens. But here you'll see an excellent example of what scifi was designed to do: comment on our current human condition by creating a fictional (extreme) scenario as a cautionary tale.

Excellent, and I mean EXCELLENT performances by James Caan (The Godfather, Misery), John Houseman (The Paper Chase, The Fog), Maud Adams (3 James Bond films), Moses Gunn (every 70s TV show from Hawaii 5-O to Shaft), and a particularly gripping performance by Pamela Hensley (Princess Ardala in "Buck Rogers" homina homina) make this an all-star powerhouse of 70s talent.

The music deserves a special mention of its own. From the opening notes of Bach's Toccata in Dm (the creepy "Dracula" theme) to Albinoni's haunting Adagio in Gm (check it out on YouTube... saddest song ever), "Rollerball" doesn't hold back.

They don't make 'em like this anymore. But there are a few modern scifi films that come close: "Moon", "District 9" and "Solaris" come to mind.

If you liked the films I mentioned in this review; if you liked the 70s classics "Catch-22" and "Coma" and "Stepford Wives"; if you like films that are both entertaining and works of art, do NOT miss Rollerball.

For laughs, after you watch Rollerball (1976), check out the remake done in 2002 ...and see how far we've come :/

I think that the fight between good & evil is the basic idea of ALL action movies. Just one man/woman or a bunch (the good ones) facing the big evil power. Then ¿who can symbolize that power?. The Corporations. From 1984 (and olders) to Public Enemy (i.e.) going thru thousands of movies, Corporations means the enemy to defeat. Check it out: Banks, Chemical, Oil and Weapon industries, Genetic labs. Even Vatican and some bizarre brotherhoods ("We'll rule the world" style). A real zoo of vicious and twisted organizations that, every time, will try to manipulate, implicate or kill our heroes.

But, what am I trying to say?. Rollerball, folks, is one of the most perfect examples of the good/evil infinite fight. One man alone, discovering the truth behind is comfortable life, losing is goods and privileges, gets himself in a life-or-dead final battle against the real enemy: the Corporation (¿who else?). The image of James Caan skating alone into the game arena with the crowd claiming his name louder and louder is simply unforgettable. GREAT movie.

And remember: Take care, there are many powerful Corporations around you.

This movie presents a dark, disturbing look at a possible future. The movie portrays a cold, sterile society where humanity is generally absent. Corporations run the world and the global pasttime is a violent sport reminisent of the Roman Coliseum. The rollerball scenes, which get more and more violent as the film progresses, are disturbing enough. Equally disturbing is a scene where a group of drunk partygoers blow up trees with some sort of gun. The citizens of this future society are really lacking feeling and humanity. Despite the film's dated look, it's still a future that seems quite possible.

I first saw this movie on HBO at the age of 14 and I sensed immediately that it was a classic, a combination of action, sports, sex, and social commentary. All the years of viewing other films have only made me more and more appreciative of this movie's many strengths.

On one level, I believe this is the best sports movie ever made. It is miles ahead of more "realistic" films like NORTH DALLAS FORTY or SEMI TOUGH or even critical favorites like COBB and EIGHT MEN OUT. The very fact that Rollerball is a make believe sport adds believability to the action sequences. Watch a baseball film and you can see at a glance that Robert Redford or Kevin Costner are not real athletes. But since rollerball has never been played, James Caan as Jonathan E really looks like the best in the game. There are no "clichés" like home runs or long passes to spoil the danger and excitement -- every crash and goal is new, never having been seen before. And there are no clichés about the fans, the athletes, or "win one for the Gipper" or gamblers or shady ladies trying to make Our Hero throw the game. From the beginning we sense the stakes are higher -- Jonathan E will either conform or die.

That brings up the fact that ROLLERBALL also shares a central theme with a lot of other powerful movies, like FROM HERE TO ETERNITY, COOL HAND Luke, and even A MAN FOR ALL SEASONS. What happens when a uniquely gifted individual refuses to participate in a corrupt system? This movie is so powerful as a drama you hardly notice the sci fi trappings. The rugged action scenes are so real you hardly notice that rollerball is a make believe game.

James Caan as Jonathan E turns in a sensitive, nuanced performance, deliberately underplaying the tough guy side as much as possible. Michael Beck as Moonpie is the foolishly overconfident one, playing Frank Sinatra's Maggio to Caan's Robert E. Lee Pruitt. But unlike the hard luck privates in this man's army, these rollerball stars get to have glamor, luxury, and unlimited sex between vicious games of rollerball. The movie captures so much sensuality and glamor that you can see why men risk death game after game to be known as "great rollerballers who bash in faces." This movie is spectacular -- an action classic with brains!

This is a film that demands repeat viewing. When I was a kid, my brothers and I used to just fast-forward all the slow, `talkie' scenes to get to the action. We couldn't understand why the whole film wasn't just composed of game sequences (a criticism also leveled by at least one reviewer on this site).

Now, having just watched the movie twice in a night, the second time with the director's commentary, I have finally got to grips with the scenes between the action, and discovered that I like it more than ever. The view of the future is not highly original; tipping its hat to the stratified societies foreseen by Orwell and Huxley, amongst others; but nevertheless the portrayal is engaging. Jewison astutely realised that only by filling in the image of the future society, the characters, and the political background against which the tournament unfolds, would the game be seen as truly REAL for the characters. In the meanwhile, he also has the chance to build suspense, upping the stakes for both the heroic gladiator/combateur Jonathon, and his would-be puppet master Bartholemew. In this way, when we come to watch the actual contests, our enthusiasm is whetted, and by making the rules progressively more dangerous with each passing game, the stakes grow ever higher.

The central themes of the movie are (i) loss-of-soul/nihilism/sensual-vs-spiritual-happiness, and (ii) individuality vs state control. Perhaps the best scenes elucidating these themes are the famous `tree killing' scene, and the conversation between Jonathon and Ella in the forest. The use of imagery and metaphor is widespread; I will mention only the terrific concept of the roulette wheel as game arena, with the players INSIDE, instead of outside; and the Circus Maximus parallel. You may draw many interesting conclusions from this about the director's and writer's intent.

My final word is: watch it once, soak up the action, and be bored by the rest. Then view it again, feel yourself in Jonathon's dilemma, experience his wrenching disappointment with the people in his life who betray him, and try to tear yourself away if you can as he is pushed inexorably to his fate in the arena of ROLLERBALL.