Abattoir 5

Like most of those who have posted before me, I am an avid Vonnegut fan and went into this movie with a guarded optimism that it would just be decent.

But George Roy Hill did an excellent job conveying the overall feel of the book -- the time jumping was flawless and I didn't find it hard to follow at all. The actor who played Billy Pilgrim captured Billy's passive, calm and vaguely anti-social demeanor. Lazarro, Montana and Billy's wife are also well played.

George Roy Hill had a knack for directing movies made from great books -- e.g., "The World According to Garp" -- and in the end, I was pleasantly surprised how well this movie turned out.

As far as the Vonnegut adaptations go (I know of four -- this one, "Mother Night," "Breakfast of Champions" and the god-awful "Slapstick") this one is the best of the bunch.

I've always wanted to see a movie version of "Sirens of Titan," but it'll probably never happen -- so "Slaughterhouse Five" is my only chance to "see" Trafalmadore.

Recommended to any true Vonnegut fans. Other people probably won't appreciate it.

There is a definite 70s feel to this production of a book that does an amazing job of spanning the most fascinating period of American history -- 1945-1970. I first saw this film in 1986 as a late teen at the height of Regan America, the cold war, nuclear detente. Billy Pilgram was the beginning of that world that I was just starting to pay attention to. The movie had a really profound effect on me at the time. Reading the book afterwards and getting into his other books, didn't detract at all from my assessment of the movie adaptation. Even seeing it now many years later doesn't detract from an amazingly solid film. The transitions as Billy gets unstuck in time are some of my favorite movie images. Also beautiful is the music which totally turned me on to Glenn Gould.

This is a workmanlike job of filmmaking. Many of the incidents and characters of the Kurt Vonnegut novel are in the film, but the filmmakers have not come up with a way of duplicating the novel's darkly comic tone, and the climactic firebombing of Dresden, the book's reason for being, is curiously unimpressive in the film. Michael Sacks is suitably sweet and blank as Billy Pilgrim and Ron Liebman gives frightening life to the maniacal Paul Lazzaro. Not showing us the Trafalmadorians, who abduct Billy and put him on display on their planet, seems a cheat.

It makes an eloquent statement about how traumatic moments in our life stay with us as if it 'just happened yesterday'. What makes this film so appealing is how it depicts what would happen if you could jump around your entire life. When the future influences the past, it takes on a great significance. Billy Pilgrim is a humdrum Optometrist who nevertheless has an exciting life, surviving the bombing of Dresden in WW2, living through a plane crash, and being transported to another planet. Yet he maintains to be humble. As we follow Billy's life, the portrait of mediocre America is a touching contrast to the other moments that are frightening. He knows how he will die, and in the process becomes unafraid to live life to it's fullest. The inhabitants of the planet Tralfamador (??) say it is best to concentrate on the good moments in your life, and not so much on the bad. But they are still there, and you cannot erase that moment of your life. In essence, the true moral of this film is to accept all that has happened in your life. For if you don't, you deny the validity of your existence. When Billy finally writes about his adventures, others have a chance to learn about the world and themselves that would've otherwise been denied.

Technically, the film uses the moments where Billy jumps in time as meaningful transitions. It interweaves lessons learned from one part of his life and applies it to the present moment (whenever that is). The film's real treasures are the supporting characters that surround Billy. It also vividly transports you to WW2, a semi-autobiographical account of Kurt Vonnegut's real life experiences in Dresden. The film is filled with anecdotes that present the film's other main theme, that life is indeed ironic.

I was deeply touched by this film, with it's ability to whisk you from scenes of horror to amusing 'Kodak moments'. The music poignantly represents these transitions, and helps to carry the film. In the end, you can accept his death, by having lived his life.

Kurt Vonnegut was more than worthy of the National Book Award that he received for the novel Slaughterhouse Five, but his humor and literary expertise are often lost in screenplays.

This flawed movie was a cult classic since its release because legions of Vonnegut fans were so fond of the novel that they could overlook the film's flaws. This is probably the only Vonnegut novel to make the transition to the screen as a movie that more than a handful of people are willing to watch. And they watch it again and again. I am reminded of Voltaire lovers who enjoy Leonard Bernstein's Candide. This seems to be the best of all possible Vonnegut movies.

There is a wealth of trivia associated with the cast. Michael Sacks disappeared into obscurity. Sharon Gans joined a community theater company that seemed more like a cult. Holly Near became a feminist folksinger. Valerie Perrine would later give a great performance as Honey Bruce in Bob Fosse's Lenny. Perry King and Ron Liebman became minor stars.

The story is largely allegorical. It is not science-fiction. Vonnegut is coping with the trauma of World War II, particularly the horrors he witnessed during the firebombing of Dresden. Billy Pilgrim's emotional numbness and alientation are characteristic of combat fatigue or post traumatic stress. Despite the lack of a chronological plot, Billy Pilgrim's arc is linear.

To the uninitiated, being "unstuck in time" can be confusing. It's sort of like one's first encounter with hypertext. Perhaps, that's why the movie is better on the second or third viewing. The key to enjoying Slaughterhouse Five is to focus on the best scenes and performances -- much like Billy Pilgrim's advice on living.