A satire about an unspeakable future in which the world is ruled by a global corporatocracy, athletics have devolved into blood sport and people pop happy pills, Norman Jewison’s thoughtful 1975 drama is a paranoid vision that today seems a little too familiar for comfort.

In the not-too-distant future, a few corporate executives make decisions for everyone in the world. Borders and war and disease and poverty have been eradicated, so why is everyone downing pills and looking for brutal diversions to stave off the pain? One such despicable entertainment is rollerball, a human demolition derby with a body count that’s a welter of roller derby, football, martial arts and motocross. Jonathan E. (James Caan) is the swaggering star player of rollerball. Trouble is, the game isn’t supposed to have any stars. It’s been contrived to demonstrate to the masses that individual spirit equals futility, and that it’s best to stand at attention when the corporate anthem plays. One high-ranking executive (John Houseman, in all his scary gravitas) tells Jonathan that he needs to retire gracefully, but Jonathan, having felt slighted by the corporate overlords in the past, says no. That leads to the game’s violence being ratcheted up even further, as the suits try to eliminate the rebellious rollerballer.

When Jonathan’s teammate and best buddy, Moonpie (John Beck), is left comatose after a brutal battering by the Tokyo team, a doctor matter-of-factly describes his condition: “There is no consciousness, just a deep coma…no dreams…nothing.” Jonathan refuses to sign papers authorizing the doctors to pull the plug on Moonpie, deciding that he will hold out hope that some dreams are still possible. Then he returns to the arena for further battle.•