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as Billy Pilgrim
as German Leader
as Wild Bob Cody
as Lionel Merble
as Young German Guard
as Eliot Rosewater
as German Leader
as Billy's Mother
as German Guard
Critic Reviews for Slaughterhouse-Five
About as close an adaptation to Vonnegut's humanist triumph as possible. A moving work despite its flaws.
It's a helluva lot easier to adapt, say, Stephen King than Kurt Vonnegut, yet director George Roy Hill and scripter Stephen Geller do such an exquisite job with Slaughterhouse-Five that even Vonnegut himself raved about this celluloid interpretation.
The film captures the essence of the book even while diverging from it. Vonnegut himself always claimed to be extremely pleased with it.
Embora consiga se manter fiel à trama e à estrutura narrativa do fabuloso livro de Vonnegut, falha por não ter força dramática e por captar apenas parcialmente a intensa mensagem anti-belicista da obra original.
Audience Reviews for Slaughterhouse-Five
An interesting sci-fi that sadly fails by only hinting at its philosophical ideas and not going deeper into them. The narrative is always fluid, with elegant scene transitions and visual rhymes, but also vague about whether it wants to be a satirical piece or not.
World War II vet Billy Pilgrim time-jumps throughout his life on Earth and on Tralfamadore. In the list of unfilmable books I thought that Kurt Vonnegut's most famous novel would rank high on the list next to Naked Lunch, but George Roy Hill's adaptation of Slaughterhouse-Five diverges from the book just enough to make it a viable film and stays true enough to the novel that it still retains the plot and spirit of the original. The overall philosophy - that "life is just a collection of moments, and the trick is to remember the good and ignore the bad" - emerges both as a line of dialogue and a lesson demonstrated by the narrative structure of the film without seeming didactic. Michael Sacks's performance is exemplary, playing Billy with a naivete and innocence that is both charming and endearing. Sacks captures the origin of Billy's milquetoast nature as it emerges from a wisdom borne of timelessness. One of my friends argued that Slaughterhouse-Five is a patriarchal, misogynist book, and I disagreed because the female characters have an inner life that Vonnegut doesn't downplay. Unfortunately the film didn't keep this aspect of Vonnegut's narration, and Valencia and Montana emerge respectively as a crazy, superficial nut-job and an over-willing sexual partner. Overall, Hill's film is a fine testament to one of the great American novels.
Like Kurt Vonnegut's novel, Slaughterhouse-Five blurs the line between fantasy and reality, intermingling the two until they're inseparable and indiscernible.
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