50 Years Later: How ‘Rollerball’ Predicted Our Dystopian Future!

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This year marks the half-century anniversary for Norman Jewison’s “Rollerball“, a movie that doesn’t share the same acclaim as his other notable works like “In the Heat of the Night”, “Fiddler on the Roof”, “The Thomas Crown Affair”, and “Moonstruck”. However, despite its differing reception, this dystopian science-fiction sports film from 1975 remains one of my favorites among Jewison’s extensive collection. This appreciation was further solidified upon a recent viewing.

The main focus of the film is a future-set sport called Rollerball, which combines elements of roller derby, football, and motorcycles into a brutal spectacle. Remarkably, during its initial release, there was immense enthusiasm for this “sport,” leading numerous promoters and investors to reach out to Jewison with the intention of securing its rights. However, given the film’s themes, it is unsurprising that no such transaction occurred as the prospect of a real Rollerball league clashed with the director’s sensibilities.

In this rephrased version, the screenplay was written by William Harrison, who was adapting his own Esquire magazine short story titled “Roller Ball Murder”. The setting is a future not too far off from our current time in 2018 (which seems both amusing and sobering for us in 2025). In this world, a multi-corporate dictatorship holds power. The Earth has been divided into sectors, each controlled by a dominant global corporation. These corporations collaborate to run society, making policies, enforcing laws, and governing the working class in ways that prioritize their own interests above all else.

1975 saw the debut of a movie whose forward-thinking perspective has remarkably mirrored reality. Directed by Jewison and penned by Harrison, the narrative is adorned with a futuristic layer. However, its essential message resonates with contemporary concerns that some might argue are unfolding in real time. The encroachment of corporations into democratic systems, the relinquishing of liberties unintentionally, and the manipulation and restriction of information – these themes hold an uncanny resemblance to our current times.

One method they use to exert their control is Rollerball, a sport that’s both corporation-backed and globally accepted, marketed as mainstream entertainment. Each sector boasts its own Rollerball team and an incredibly devoted fanbase. The higher-ups claim that Rollerball has ended wars and cured societal issues. In truth, the game was devised to show the futility of individual effort, a goal it has certainly achieved.

Jonathan E., who’s remarkably like James Caan, is undeniably exceptional and highly esteemed in his sport, earning him global adoration that extends beyond the confines of specific fan bases, as they even chant his name at rival games. However, his widespread popularity and celebrity status has raised some eyebrows among certain executives. They perceive his individual fame as a potential challenge to their authority. The corporate entities view Jonathan’s fame as outgrowing the very game they employ to manage the masses worldwide.

In a meeting with Mr. Bartholomew, the CEO of the Energy Corporation that governs Jonathan’s sector and his Rollerball team, he is told that the executive board has requested his retirement, offering him an extravagant retirement package that ensures financial stability for life, along with a grand farewell event in his honor. However, Jonathan is reluctant to leave his teammates behind and finds the idea of being forced out without clear reasons unpalatable.

Mostly, the film centers around Jonathan’s stubborn refusal to retire and the board’s increasing frustration with his unwillingness to collaborate. It becomes clear that Jonathan distrusts corporations ever since a top executive married his wife Ella (Maud Adams). His disillusionment deepens when he uncovers the extent to which corporations control society.

In many instances, the profound themes of the movie get overshadowed by the intense Rollerball matches themselves. However, director Jewison, alongside cinematographer Douglas Slocombe and editor Antony Gibbs, capture these matches with unyielding vigor and style. They portray this wild, brutal sport not through dialogue but through their camera work, allowing us to fully understand its nature. The violence escalates with each game, becoming increasingly harsh as the executives manipulate the rules to target Jonathan.

Even after half a century, ‘Rollerball’ continues to pack a punch with its timely relevance. It’s distinguished by high-quality production, insightful social criticism, and a hint of gritty 70s action. However, as with any film from the 1970s, some aspects may seem dated today. Nevertheless, ‘Rollerball’ stands out as a captivating work of science fiction, combining the heart-racing excitement of an action movie with the intellectually stimulating analysis of social issues.

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2025-02-19 19:00