The concept of discovering films that exemplify or demonstrate the Gorean philosophy has much going for it. They're a great way to start off a discussion, especially with those unfamiliar with John Norman's books. Issues of male and female roles, relationships between men and women, relationships between men and men; concepts like honor and integrity, Home Stones, Codes and caste; and the historical influences and foundations of Gorean culture are more easily broached when presented through the abstract and remove of film.

The reason for this is simple, but most people are unaware of the process. Film, like literature, relies on a psychological idea called "suspension of disbelief". As we enter into a story we mentally accept it's underlying premises. Animals are allowed to talk, magic works, inanimate objects are sentient, future technology is taken for granted. We are mentally transported "to a galaxy far, far away", to the distant past, to "once upon a time", or into a fantasy world where the logic and rules of our own existence are suspended.

Films primarily about warfare, slavery, bdsm or whose primary focus is on bevies of scantily clad females are NOT what we're looking for. For a film to be considered and reviewed, it must tie in somehow to ideas relevant to modern Gorean lifestylers. They are meant to be excellent jumping off points for serious discussion; they might be used as part of training a girl; and they're all meant to be rousing good entertainment. Both current films and those readily available through video and DVD, and occasionally a film frequently shown on late night television, may make an appearance. Comedies, dramas, mysteries, science fictions, westerns, historical costume epics - even musicals - are all fair game.

Your suggestions on films are very welcome, as well as your contributions of reviews themselves. Suggestions on films to be reviewed can be sent to Arthur       gorean_voice@hotmail.com

The following link to the archives, , will have a list of films reviewed and many suggestions from members of the on-line Gorean community.

If you don't like the choices of films reviewed here, send in a suggestion or review yourself.     gorean_voice@hotmail.com

Like Leonard Maltin, Roger Ebert, and your local newspaper, the opinions of the writer are strictly subjective. Enjoy!

Rollerball (1975)      Available on VHS and DVD.

3 bosk heads out of five.     

Director & Producer: Norman Jewison
Screenwriter: William Harrison
Starring: James Caan, John Houseman, Maud Adams, John Beck, Moses Gunn, Pamela Hensley, Barbara Trentham.

The recent remake of this classic 1975 film has all of the original's violence, ratcheted up for modern audiences used to plenty of blood and explosions, with none of the social commentary that made the original the cult classic it has become.

The original film stars James Caan as Jonathan E., the most successful athlete in history, in a game known for it's unrelenting violence - a combination of roller derby, hockey and rugby. Set in a future that follows the "corporate wars" that finally resulted in mankind achieving a certain view of Utopia, the game serves as a social control mechanism. Providing a vicarious outlet for a world without crime, war or poverty, the game is used to placate and inculcate the masses. The game stresses teamwork, to the extent that individual effort is suppressed and even felt to be a danger to society. In essence, all individuals are unimportant, and exist only to serve as cogs in a vast machine - a machine with an unknowable governor and purpose. The highest social rank in society is an "Executive". The highest governing body is the Board of Directors, and no one knows who they are. Everyone though knows the face and name of Jonathan.

Jonathan is a danger to this corporate society based on conformity. His efforts in the game are remarkable, and his statistics reminiscent of a Roman gladiator: most opposing players "taken out" in a game, most kills, highest individual score. He is the linchpin of his team, their trainer and mentor; he is idolized by men and desired by women. Jonathan's autograph and souvenirs (a trademark hat) are highly sought after. People brag about having had dinner with him or having touched him. Teammates get a secondary cachet - if you can't sleep with Jonathan, sleep with one of his cronies. He enjoys unusual privileges, a private ranch, a personal helicopter and a platoon of servants - including an employer provided concubine.

A subplot revolves around Jonathan seeking to be reunited with his wife/concubine, taken from him by the inscrutable powers above. While referred to as wives, all of the women in the film are in fact slaves - they live with, sleep with and serve fully whatever man they are assigned to. All Executives are men, and at parties these women are treated as available sexually for any man who desires them. They accept their station mostly without complaint; and whether a slap in the face to feminists, or making a social point against objectifying women, isn't at all clear.

When the Board of Directors begins to find Jonathan's individualism a threat to the status quo, they urge him to retire; and offer threats and inducements to bring this about. The struggle between Jonathan and his unknown superiors is the true crux of the film, a metaphor for the struggle between conformity and individuality. The stakes, as they must, become life and death. The 2002 remake sacrifices this metaphor in favor of a simplistic plot of corporate greed and conspiracy. Jewison's film needs no corporate greed because the corporations all ready own everything - it is social power and control that is the true coin of the realm, and Jonathan has grown too rich for their stomachs.