Rollerball (1975)

In a corporate-controlled future, an ultra-violent sport known as Rollerball represents the world, and one of its powerful athletes is out to defy those who want him out of the game.

Director:

Norman Jewison

Writer:

William Harrison (screenplay)

Stars:

James Caan, John Houseman, Maud Adams

Won 1 BAFTA Film Award. Another 3 wins & 5 nominations.

Cast

Complete credited cast:
James Caan	...	Jonathan E.
John Houseman	...	Bartholomew
Maud Adams	...	Ella
John Beck	...	Moonpie
Moses Gunn	...	Cletus
Pamela Hensley	...	Mackie
Barbara Trentham	...	Daphne
John Normington	...	Executive
Shane Rimmer	...	Rusty, Team Executive
Burt Kwouk	...	Japanese Doctor
Nancy Bleier	...	Girl in Library
Richard LeParmentier	...	Bartholomew's Aide (as Rick LeParmentier)
Robert Ito	...	Strategy Coach for Houston Team
Ralph Richardson	...	Librarian

Storyline

In a futuristic society where corporations have replaced countries, the violent game of Rollerball is used to control the populace by demonstrating the futility of individuality. However, one player, Jonathan E., rises to the top, fights for his personal freedom, and threatens the corporate control.

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Plot Keywords:

dystopia | fictional sport | shower room | score | screech | 

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Taglines:

It's More Than Just a Game!

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Genres:

Action | Sci-Fi | Sport

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Certificate:

R

Details

Official Sites:

MGM

Country:

UK USA

Language:

English

Release Date:

25 June 1975 (USA)

Also Known As:

Роллербол

Filming Locations:

Frankfurt, Germany

Box Office

Gross USA:

$30,000,000

Company Credits

Production Co:

Algonquin

Technical Specs

Runtime:

125 min

Sound Mix:

4-Track Stereo (35 mm magnetic prints) 70 mm 6-Track (70 mm prints)

Color:

Color (Technicolor)

Aspect Ratio:

1.85 : 1

Did You Know?

Trivia

William Harrison wrote the original short story, 'Roller Ball Murder' published in 1973 by Esquire Magazine. He then adapted the story to create the screenplay for this film.

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Goofs

Some of the long shots in the Tokyo match show an empty arena.

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Quotes

[first lines]
Pregame announcer: Good evening everyone! And welcome to Houston, the energy city, home of the defending Rollerball World Champions. This key international battle pits the divisional champions, visiting Madrid, against powerful Houston. - - And here they come to a standing ovation. On the track comes Houston! Houston, lead by captain Jonathan E, again their leading scorer this year.

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Connections

Featured in I Love the '70s: Volume 2: 1975 (2006)

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Soundtracks

Adagio for Strings and Organ in G minor
(uncredited)
Composed by Tomaso Albinoni
Arranged by Remo Giazotto
Published by G. Ricordi & Company (London) Limited on its own behalf and on behalf of G. Ricordi & C.s.p.a. of 2,
Via Berchet, 20121 Milan, Italy

User Reviews

As remote from the average film-goer's awareness as 2001: A Space Odyssey

In deference to Stanley Kubrick himself and the wondrous achievement that 2001: A SPACE ODYSSEY is, was and forever will be, I do not speak of ROLLERBALL in the same breath. Having said that however, here is a film that although lacking the scope, budget and monumental depth of its compatriot, is a totally brilliant piece of film-making, equally awesome in its implications and social comment. Norman Jewison created a masterpiece with Rollerball - understated, misunderstood and undervalued both at the time of its release and later. Perhaps ultimately to its its greatest benefit - the release of the plebeian 2002 re-make which will stand for all time as the most nauseatingly insulting and tastelessly gratuitous reminder to recall the original with perhaps more relish than might otherwise have been the case. No purpose in re-hashing the plot - anyone reading this will already know it. Suffice to say, James Caan's Jonathan E stood for that most basic of human principles - the rights of the individual! As John Houseman, the corrupt and ubiquitous head of the all-powerful Corporation that owns and operates ROLLERBALL inc worldwide, tells Jonathan at one point, "Rollerball was meant to demonstrate the futility of resistance, no man was ever intended to become bigger than the game." This was a society (set in 2018) with media censorship in place to such a degree a centralised computer stores the worlds' entire literary knowledge (physical books being a thing of the past as in FAHRENHEIT 451. Marvellous interspliced sequence with Sir Michael Redgrave as keeper of the world's centralized computer to which Jonathan is drawn, seeking answers to questions he was never supposed to ask. You have to really watch and LISTEN to ROLLERBALL to EXTRICATE from it, what the makers are offering you in terms of reflective contemplation. So many saw the film's middle section as "boring!" So is looking at the sky if you have no knowledge of cloud formation, atmospheric beauty or even indeed WHY there IS a sky and what it means in the grand scale of things! Caan's gradual self discovery as to his own identity and purpose is hand-crafted for you during these middle scenes - THIS is what the film is about..not merely the superb action sequences which are so richly photographed and presented in that gladiatorial arena, a colosseum for the new millennium, no more no less! The highlight of the film, if you are able to see it, is the party for Jonathan E, supposedly to mark his resignation but which in fact might be seen as the Energy Corporation's Last Supper! The scenes of the amphetamine-fed yuppies, destroying the trees with the flame-gun has always made me cry, not because I'm a wimp, a greenie or even an anti lobbyist for hand guns, but because of what those terrible scenes stand for and bring to my own emotional recognition...a directionless society that we are right now so unerringly headed for. Look at the expression on the face of Jonathan's ex-wife as she comes to realise where its all gone wrong - not just for herself but for them all. Now tell me this is boring!!!! As has been recognised by some fellow critics, the absolute last scenes of the movie are perhaps the greatest. The point being less subtly made as we see Houseman staring through the glass at Jonathan E, the last man standing, his corporate outline encircled by the reflected flames on the track - hello? does anyone understand this? One of the greats! Watch this film...don't just see it!