RollerBall
In the not-too-distant future, wars will no longer exist...
Directed
by Norman Jewison
Writing
credits: William Harrison (short story Roller Ball Murder)
& William Harrison (screenplay)
Review by Noel Baily
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 plebian 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 resistence, 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 (another futuristic look at
social oppression and rumored to be the subject of a remake
in 2003 by Mel Gibson). Marvellous interspliced sequence with
Sir John Gielgud as keeper of the world's centralised 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!
Review
by Noel Bailey (uds3@hotmail.com) from Baulkham Hills, New
South Wales, Australia.
Trivia for Rollerball
• Norman Jewison said he cast James Caan as Jonathan
E, the champion Rollerball player, after seeing him play Brian
Piccolo, the real-life Chicago Bears running back in Brian's
Song (1971)
• According to the author, William Harrison, Rollerball
was inspired by an Arkansas Razorback basketball in Barnhill
Arena during the era of coach Eddie Sutton.
• The game of Rollerball was so realistic the cast,
extras, and stunt personnel played it between takes on the
set.
• There was only one "Rollerball" rink. It
was redressed to appear as different cities.
• During the Tokyo-Houston game, the Tokyo fans are
chanting "Ganbare Tokyo!", which translates into
"Let's Go Tokyo!"
• Contrary to rumors, no one died during the filming
of any of the stunts.
• Some of the other "rollerball cities" mentioned
in the movie: Madrid, Manila, Rome, Pittsburgh.
• In the liner notes to the Region 2 DVD, director Norman
Jewison is quoted as being influenced by Kubrick's A Clockwork
Orange (1971). The influence is most obviously seen in the
repetitive use of zooms, classical music and modern (i.e.
concrete and glass) architecture.
• This was the first film to give full screen credits
to the stunt performers. Normally their work would go uncredited,
but the director was so impressed by their work, he felt moved
to include their names in the closing credits. Ever since,
stunt performers have received screen credit for their work.
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