1972 Directed by George Roy Hill
Billy Pilgrim, a veteran of the Second World War, finds himself mysteriously detached from time, so that he is able to travel, without being able to help it, from the days of his childhood to those of his peculiar life on a distant planet called Tralfamadore, passing through his bitter experience as a prisoner of war in the German city of Dresden, over which looms the inevitable shadow of an unspeakable tragedy.
Michael Sacks Ron Leibman Eugene Roche Sharon Gans Valerie Perrine Holly Near Perry King Kevin Conway Friedrich von Ledebur Ekkehardt Belle Sorrell Booke Roberts Blossom John Dehner Gary Waynesmith Richard Schaal Gilmer McCormick Stan Gottlieb Karl-Otto Alberty Henry Bumstead Lucille Benson John Wood
Slachthuis 5, Slagtehus 5, Teurastamo 5, Slaktehus 5, Σφαγείο Νούμερο Πέντε, Jatka č. 5, Schlachthof 5, Σφαγείο Υπ' αριθμόν 5, Matadero Cinco, Abattoir 5, בית מטבחיים חמש, Az ötös számú vágóhíd, Mattatoio 5, スローターハウス5, 죽음의 순례자, Skerdykla Nr. 5, Rzeźnia nr 5, Matadouro 5, Бойня номер пять, Slakthus 5, Mezbaha No.5, Бійня номер п'ять, 第五屠场, 第五屠場
USAR
FranceU
Germany16
PortugalM/12
Japan
Spain18
Hungary16
France
France12
France
France12
Germany
Brazil18
Brazil
France
Germany
Hungary
Japan
Portugal
Spain
USA
Odd being drawn to this on May day!!!
Two things, I've read the novel more than once, I've read most of Kurt's novels more than once and I have seen this before.
OK the atypical list of 70s new Hollywood does in a lot cases really ignores the output of Universal Studios. I mean it killed this period, with the release of America Graf and Jaws, but when people speak Bonnie and Clyde, Easy Rider etc, Universal's output never seem to be mentioned. We talk about BBS Productions and the Monkeys' Head producing Easy Rider, which is really funny for the 1980s output of Universal and Michael Nesmith influence.
I have rationalised possibly there is two reasons for this, as…
hot take.....i just........don't think u can translate......the essence of sir vonnegut....................to the screen
'I cackle every time... because it is so harmonious with what I felt when I wrote the book..' (Kurt Vonnegut talking about the film adaptation of his novel Slaughterhouse-Five, Or The Children's Crusade)
Based on one of the most unfilmable novels ever written, the bones of this hugely impressive adaptation (by Stephen Geller) were derived from the author's own experiences as a Dresden POW in World War II, and channelled into the 'Everyman' character of optometrist Billy Pilgrim (newcomer Michael Sacks) who becomes 'unstuck in time', traversing different locations and time periods of his own life either in reality or internally.
When not derailed by bizarre and darkly humorous twists of fate he endures an unhappy marriage to the overbearing…
I can't rate it any lower than this cos it wasn't like it wasn't a good film and it did get much more interesting as it went along and looked beautiful. It just wasn't for me.
#54
See:
I was in fucking Spain when I read this book for the first time. I had a small edition so it fit in my pocket. I read it all over, whenever I could. Parks, busses, cars, subways, very convenient. One morning I woke up very early in Madrid and walked to a coffee shop. It was the type of shop that was very small and very busy very early in the morning. The place was full and I walked in wearing a fucking Keith Haring colorful collaged shirt and ordered an “Americano.”
They sat me at the same table as a man who had his laptop out doing work. I pulled out my book and started reading. After…
I will say it again, Slaughterhouse-Five is my absolute favourite novel of all time, I connected with it deeply when I was a kid and just fully delved into it throughout the years. This was my second watch of the film Slaughterhouse-Five, my first viewing in a big theatre and definitely the more fulfilling of the two. With this rewatch, I was able to pick up on many more small, seemingly-insignificant moments I had missed before. My favourites being: Billy’s interruption of a conversation by repeating “Go on without me” and then “I’ll be alright”, illustrating his still existing innocence and naivety; the ebb and flow of Billy’s interest in Valencia; the self-scripting speech of Paul Lazzaro and his promise of…
