Rollerball 1975 =LINK= Download

Rollerball is a 1975 dystopian science fiction sports film directed and produced by Norman Jewison.[7] It stars James Caan, John Houseman, Maud Adams, John Beck, Moses Gunn and Ralph Richardson. The screenplay, written by William Harrison,[8] adapted his own short story "Roller Ball Murder", which had first appeared in the September 1973 issue of Esquire.[9]

Gene Siskel of the Chicago Tribune gave the film 2 stars out of 4 and called it "a movie in love with itself" and "vapid, pretentious, and arrogant. Not even John Houseman's fine performance as a villainous corporate director is sufficient to make Rollerball tolerable. The only way to enjoy it, I suppose, is to cheer at the rollerball game's mayhem."[24] Arthur D. Murphy of Variety, wrote that it "packs an emotional and intellectual wallop" and that James Caan gave an "excellent performance".[16] Charles Champlin of the Los Angeles Times was also positive, calling it "a fresh, unusual and stimulating movie. In its portraying of the vast and essentially stateless multinational corporations, Rollerball plays off developments which have come since Huxley's and Orwell's time."[25] Jonathan Rosenbaum of The Monthly Film Bulletin panned Rollerball as "A classic demonstration of how several millions of dollars can be unenjoyably wasted ... this glib fable seems to be aiming at a simplified version of A Clockwork Orange without any intimations of wit or satire to carry the vague moralistic message."[26]

Rollerball 1975 Download

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TV Guide gave the film three out of four stars; it said "the performances of Caan and Richardson are excellent, and the rollerball sequences are fast-paced and interesting."[28] Jay Cocks of Time said Caan looked "unconvinced and uncomfortable" as Jonathan E.[29]

You should check out the plot of the movie Rollerball (1975). It has a couple of similarities to Alita and I think offers a little bit of insight into Alita. The similarities I saw are:

I have gone back and forth on this movie just about every time I saw it. The first time was in June 1975 with my friend Dan Hasegawa. I think we saw this without Art because he had just left for the Army. Either that, or Art was still trying to make time with Laura Charca and he did not have time for us. My guess is that if Jaws had not opened a few weeks later, this would have been the big picture of the summer and my favorite movie that year. As it was, I remembered it, but I did not have much loyalty too it. Second viewings reveal a lot of problems with the story and the film making. I still think it is a pretty good movie, but I look at it much more realistically now then I did then.

In Rollerball (1975), a not-too-distant future controlled by corporations, Jonathan E. (James Caan) is the star of the ultra-violent sport Rollerball. The corporate executives want him to quit, but Jonathan defies them.

In the original movie Rollerball (1975) Jonathan had many reasons to quit the game. He had reached every success in the sport, was getting old, the upper crust wanted him to quit and threatend him if he did not, the game was getting more violent every day with many injuries, his best friend was seriously injured and comatose... Why did he go on? Was it some kind of resistance against the upper crust, addiction to the admiration of the fans or misguided sportmanship? Is there a meaningful explanation for why he just kept going on?

1975 Rollerball is a little vague in my opinion, so could be interpreted in many ways. I find that the point of this film revolves around the cyclical nature of the human struggle. Jonathan doesn't quit because he begins to question the nature of his existence and the gravity that the sport Rollerball has in his world. He is looking for answers to why they want him to quit, what he would do if he quit, and how everyone ended up playing Rollerball anyway? When he goes and looks for information on how the world became this way, he finds that historical knowledge is being censored and all information is controlled by Zero, the "World's Brain" made of "fluid mechanics-fluidics" as one technician explains. A "memory pool" that all human knowledge and recorded history has been reduced to. Jonathan asks Zero for "Information about corporate decisions, how they are made and who makes them?". Zero is reluctant, but because of Jonathan's fame, the technician convinces Zero, telling it to "Make it simple, answer him".

Producer: Norman Jewison, Patrick Palmer (associate producer)

Director: Norman Jewison

Screenplay: William Harrison (also story Roller Ball Murders)

Production Design: John Box

Cinematography: Douglas Slocombe

Costume Design: Julie Harris

Film Editing: Antony Gibbs

Original Music: Tomaso Albinoni, Johann Sebastian Bach (from "Toccata and Fugue in D minor BWV 565") Dmitri Shostakovich (from "fourth movement of symphony No. 5 in D minor"), Pyotr Ilyich Tchaikovsky

Principal Cast: James Caan (Jonathan E.), John Houseman (Bartholomew), Maud Adams (Ella), John Beck (Moonpie), Moses Gunn (Cletus).

C-125m. Letterboxed. Closed captioning.

by Richard Steiner Rollerball Perhaps one of the more interesting facts about the 1975 Rollerball is that...it's only 17 years away! Taking place in 2018, this often laborious but still fascinating sci-fi film ranks with Logan's Run, Soylent Green, and Zardoz as one of several 70's sci-fi epic movies with a message. And although Rollerball attempted to tell an exciting and conscious-raising story, it would soon be swept away by a small film called Star Wars in 1977. The director, Norman Jewison, had this to say about the film in 1978: "Rollerball looked into the future in which all-powerful corporations provide a murderous sport to let people work off their aggressions. I worry about how much direction we have over our own lives." Rollerball proved a mild success in the states, but was a greater success on the international market. The film, which was based upon an Esquire short story by William Harrison (who also wrote the screenplay) was met with mixed to poor critical reviews. Variety called it a film which "packs an emotional and intellectual wallop" while Arthur Cooper in Newsweek proclaimed the film feeble and trendy, and said lead actor James Caan was stuck in a film "leaving him in a state of mumbling bemusement." And the critic Molly Haskell started her review with the sentence "What do you do if you have a pretentious six million dollar futuristic fantasy called Rollerball on your hands and you strongly suspect it's a clinker?" (Her answer: shelve it or pump it full of technological gee whiz). Some interesting technical notes about the film: it was photographed in Munich and London in 35mm at an aspect ratio of 1.85:1. It was later enlarged by the Technicolor lab in London to 70mm and a 'scope' ratio of 2.1:1. Its producer, United Artists, had set aside 10 prints of the film to be screened in 70mm with six track sound. A group of pre-production researchers interviewed an English speed skater and examined the Olympic Cycle Track and Olympic Basketball Stadium in Munich to devise the Rollerball arena. The producers eventually hired a German architect to create the Rollerball track in the stadium and additionally employed a Norwegian stunt coordinator, seventeen English Roller Hockey players, twelve American Roller Derby skaters, six motor bikers, and eleven stuntmen from American and England. Although Rollerball was met with less than enthusiastic reviews, it remains a fascinating document of futurism and the fear of the future as mid 70's American lives were changing dramatically in the wake of the Vietnam War and the rise of powerful corporations. As much as Rollerball may fail to convey a cohesive thematic story, it still remains a stirring indictment of our fascination with popular violence and the media's embrace in displaying that bloodlust in new technological and voyeuristic ways.Producer: Norman Jewison, Patrick Palmer (associate producer) Director: Norman Jewison Screenplay: William Harrison (also story Roller Ball Murders) Production Design: John BoxCinematography: Douglas Slocombe Costume Design: Julie HarrisFilm Editing: Antony GibbsOriginal Music: Tomaso Albinoni, Johann Sebastian Bach (from "Toccata and Fugue in D minor BWV 565") Dmitri Shostakovich (from "fourth movement of symphony No. 5 in D minor"), Pyotr Ilyich Tchaikovsky Principal Cast: James Caan (Jonathan E.), John Houseman (Bartholomew), Maud Adams (Ella), John Beck (Moonpie), Moses Gunn (Cletus).C-125m. Letterboxed. Closed captioning.by Richard Steiner Quotes JON-A-THAN! JON-A-THAN! JON-A-THAN! JON-A-THAN! JON... - Crowd of spectators Ears. Now, they're important, too. - Jonathan E. Trivia 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)

Rollerball (1975) contains a scene in which Jonathan, the main character, visits a computerized library in order to learn the basics of corporate governance. However, when Zero (the AI supercomputer) is asked how corporate decisions are made it initially doesn't answer. Once physically assaulted by the librarian it provides only a basic explanation ("corporate decisions are made by corporate executives").

A guaranteed original U.S. 'half sheet' movie poster for Norman Jewison's 1975 dystopian skating sci-fi "Rollerball", starring James Caan, John Houseman, Maud Adams, John Beck, Moses Gunn, Pamela Hensley, Barbara Trentham and Ralph Richardson.

Combines two styles used for the movie Rollerball (1975). While the uppercase is based on the Rollerball logo (custom drawn by Joe Caroff [70smoviepostertypography], see also Lady Starlight), the lowercase is based on the caps of Countdown. e24fc04721