I have seen Rollerball, the 1975 sci-fi cult classic starring James Caan, several times, and the film features a couple of reel librarians and corresponding library scenes. I had not yet seen the 2002 remake starring Chris Klein, due to scathing reviews, but I decided to watch the remake recently for the purposes of comparing and contrasting it to the original film — and to see if the reel librarians made the cut in the remake. I also wanted to revisit the original Rollerball film, to see how well it held up.
Ready, set, analyze!
The original film: Rollerball (1975)
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.
“Rollerball Official Trailer #1 – James Caan Movie (1975) HD,” uploaded by Movieclips Trailer Vault, 2012, under a Standard YouTube license.
Library computer center scene
The first library scene — in this future, they are called “computer centers” — takes place 35 minutes into the 2-hour film. It is a short scene, lasting only a minute and a half. Jonathan goes with friend and teammate Moonpie to the local branch, and the location is like that of a futuristic mall, with escalators. (This location is in Germany, and as director Norman Jewison reveals on a commentary track, it’s a building that was built specifically for the Olympic Games.)
There are different information desks, including one labeled “Library” and another one labeled “Travel.” The message is that the “Library” is just another service and just another desk among countless others.
At the “Library” desk, a young, pretty, brunette Circulation Clerk — listed as “Girl in Library” in the film’s credits and played by Nancy Bleier– starts off the conversation.
Girl in Library: Can I help you, please?
Jonathan: Yeah. I tried to order some books. They sent me this notice that I had to appear at the center personally.
Girl in Library: That’s right. This is our circulation unit. You can make your choice here or by catalog. There must be some mistake. The books you’ve ordered are classified and have been transcribed and summarized.
Jonathan: Who summarized them?
Girl in Library: I suppose the computer summarized them.
Moonpie: What do you need books for?
Jonathan: I just want to study up on some things.
Girl in Library: You could go to the computer center where the real librarians transcribe the books, but we have all the edited versions in our catalog, anything I think you’d want.
Jonathan: Well, let’s see then. This is not a library, and you’re really not a librarian.
Girl in Library: I’m only a clerk, that’s right. I’m sorry about it, really.
Cue vacant expression:
Jonathan: And the books are really in computer banks being summarized. Where is that?
Girl in Library: There’s a computer bank in Washington. The biggest is in Geneva. That’s a nice place to visit. I guess that’s where all the books are now.
Jonathan: Thank you.
This is a pivotal scene, one that confirms Jonathan’s suspicions that “something is not right” and provides him motivation to seek out the real books — and a reel librarians — in Geneva. The “Girl in Library” fulfills the Information Provider role.
Here’s how Norman Jewison described the scene and its importance, in a commentary track on the DVD:
Here is where we bring into the story, bring into the film, that knowledge and access to knowledge is controlled. Much like it was controlled in Nazi Germany, during World War II, or indeed in the Soviet Union, where books were banned. And of course in America. It’s happened here too. Where people are prevented from finding out information that may in some way increase their opposition, perhaps to established authority.
We keep referring to “something’s going on,” there’s some sort of conspiracy, this is the build to reveal to Jonathan, the gladiator, that he is really just a cog in the wheel and is being totally manipulated.
Jewison and screenwriter William Harrison also emphasized this theme as Jonathan and Moonpie walk out of the library:
Moonpie: Yeah, but why books? I mean, anything you’d want to know, you could hire yourself a corporate teacher. Call somebody up. Use your privilege card.
Jonathan: I can’t, and that’s just it. I feel like there’s something going on. Somebody’s pushing me.
Geneva library scene
An hour and a half into the film, Jonathan travels to the central computer bank in Geneva that the Circulation Clerk had mentioned. Jonathan wants to go to computer center in Geneva and see what he can find out. The Geneva library computer center looks like a classical building from the outside, but it’s all polished doors and computer machinery and fluorescent lights inside.
The exterior of the library computer center is the League of Nations in Geneva, Switzerland. As director Norman Jewison stated in the director’s commentary, “We tried to show that there was still some respect for some older pieces of architecture, so we decided that we would make the League of Nations into the world’s library.“
This is a longer scene, clocking in at six and a half minutes, and the English actor Ralph Richardson plays the librarian, who is star-struck at first by meeting Jonathan. We also get to see the librarian’s office, which looks like a computer storage area.
During this scene, the librarian happens to mention — in an offhand, casual kind of way — that he’s misplaced some data.
Librarian: Hello, hello. Yes, it is. The famous Jonathan E. Hard to believe. Sorry things are in a mess. The rollerball champion. Wonderful. Not many people come to see us, you know. We’re not easy to talk to, Zero and I. We’re a little confused again here today. This is embarrassing. It’s embarrassing to misplace things.
Jonathan: Misplaced some data?
Librarian: Hmmm, the whole of the 13th century. [Tears up cards and throws them on the floor.]
Librarian: Misplaced the computers, several conventional computers. We can’t find them. We’re always moving things around, getting organized. My assistants and I. But this, this is Zero’s fault. Zero. He’s the world’s file cabinet. Yeah. Pity. Poor old 13th century. Well. Come along now. You want to get started, don’t you?
Jonathan: Yes, sir.
Librarian: This way. Now, we’ve lost those computers, with all of the 13th century in them. Not much in the century. Just Dante and a few corrupt popes. But it’s so distracting and annoying. You’ve unlimited restrictions here, of course. But you have to come so, so many times. It all takes such effort.
Yes, you read that right. The librarian just dismissed the WHOLE OF THE 13th CENTURY that just disappeared from archival existence. That “Just Dante and a few corrupt popes” amount to “not much.” So I’m pausing in the middle of their conversation to have a moment of silence for the “poor old 13th century” that just got wiped out. RIP, 13th century, RIP.
It’s also becoming obvious how emotionally numb and exhausted the librarian has become.
Jonathan: Do the executives still come here?
Librarian: Oh, they used to. Some of them.
Jonathan: What about the books?
Librarian: Books, books, oh no, they’re all changed, all transcribed. All information is here. We’ve Zero, of course. He’s the central brain, the world’s brain. Fluid mechanics, fluidics. He’s liquid, you see. His borders touch all knowledge. Everything we ask has become so complicated now. Each thing we ask. This morning we wanted to know something about the 13th century. It flows out into all our storage systems. He considers everything. He’s become so ambiguous now. As if he knows nothing at all.
Jonathan: Could you tell me something about the corporate wars?
Librarian: Wars? War? Oh, yes, of course. We have them all here. Punic War. Prussian War. Peloponnesian War. Crimean War. War of the Roses. We could recall them in sequence. But corporate wars… hmmm. Well, Zero will, or can, I’m sure, tell you anything.
Librarian: A memory pool, you see. He’s supposed to tell us where things are and what they might possibly mean. Look, Zero, a visitor. Jonathan E., the rollerball champion. You’ve filed away a lot of data on him. Do you remember?
Jonathan: Does it answer you?
Librarian: Oh yes, it speaks. It finds things, and loses them, and confuses itself. [Dusts it.] Ask anything. He’ll find it for you, section and lot. Won’t you, Zero?
Jonathan: All right. I’d like, uh, I’d like some information about corporate decisions: how they’re made and who makes them.
Librarian: Zero, you heard the question. Answer him.
Librarian: You don’t have to give him a full political briefing. Answer.
Librarian: This is Jonathan E. He has to know. Make it simple. Answer.
At first, the librarian speaks lovingly and protectively of Zero, almost like a parent reminiscing about a spoiled child’s antics. Things quickly go downhill from there, as the librarian realizes that Zero refuses to provide the information asked of it. In short, Zero lives up to its name.
Zero: Corporate decisions are made by corporate executives. Corporate executives make corporate decisions.
Librarian: I know we have the answers. It’s the waters of history.
Zero: Knowledge converts to power. Energy equals genius. Power is knowledge. Genius is energy.
Librarian: I don’t want to bully you. You have to answer!
Zero: Corporate entities control elements of economic life, technology, capitol, labors, and markets. Corporate decisions are made by…
Librarian: You have to, Zero! [kicks the base] Let’s show him! Answer him!
Zero: Negative. Negative. Negative. Negative. Negative. Negative. Negative.
As the librarian kicks Zero, in a fruitless attempt to prize information out of it, Jonathan — along with the audience — realize how impotent we all are in this corporatized world. The librarian is educated and intellectual and still valued knowledge, but it is to no avail. The librarian in Geneva is of no more use than the Circulation Clerk back home.
Here’s how Norman Jewison summed up the scene in his director’s commentary:
We came up with the name of Zero for the name of the computer, because we felt that somehow zero was the beginning, and the end, of everything. And I guess we were trying to indicate that as you hear in this scene, that all knowledge. […] I think probably Kubrick’s film 2001, which dealt with HAL, actually was part of the inspiration for this scene. When you start to deal with information stored in one place and one computer, naturally the computer must take on a kind of an identity. You can see here… this is a wonderful scene. [Chuckles.] You can see this is a difficult question for… He’s trying to get Zero to give him some information.
And this is where Jonathan realizes that even the computer is, will not reveal the certain truths that he wants about who really is in charge. So we have a society in which nobody knows really, who’s calling the shots. And there’s only one man questioning it, and he can’t even, he can’t find the answers. And this is where the picture takes off, a little bit, emotionally.
The original 1975 version of Rollerball ends up in the Class III category of films featuring reel librarians, and Ralph Richardon’s librarian ends up being another Information Provider, however ineffectual his information turned out to be.
Although the library scenes in the movie combine for less than 10 minutes total, it’s obvious — especially from Norman Jewison’s commentary — how important those scenes are to the film’s overall message as well as its flow and plot progression.
The remake: Rollerball (2002)
“Rollerball Official Trailer #1 – Jean Reno Movie (2002) HD,” uploaded by Movieclips Trailer Vault, 2012, under a Standard YouTube license.
As I mentioned before, the 2002 remake of Rollerball was not well-received, to put it mildly. It has a 3% — !!! — freshness rating at Rotten Tomatoes. As in 97% rotten. Yikes. The remake’s director, John McTiernan, also went to federal prison due to an investigation resulting from the production of this film. Double yikes.
As for the question of whether or not the reel librarians made it to the remake, the short answer is NO.
The long answer? Also NO.
There is just no room for subtlety or subtext in this remake, which is all about quick action shots and bad special effects. This remake epically fails on all levels, including acting, storytelling, casting, accents, reel librarians, you name it. Very disappointing since the original film was, well, so original. Some movies just don’t need to be remade. The Rollerball remake ends up in the Class V category, films with no librarians.
Just one more cinematic reason why I watch some films so you don’t have to. 😉
Original: Rollerball. Dir. Norman Jewison. Perf. James Caan, John Houseman, Maud Adams, John Beck. MGM/UA Entertainment, 1975. Based on the short story “Roller Ball Murder” by William Harrison.
Remake: Rollerball. Dir. John McTiernan. Perf. Chris Klein, Jean Reno, LL Cool J, Rebecca Romijn. MGM, 2002. Based on the short story “Roller Ball Murder” and 1975 screenplay, both by William Harrison.