A bombardier in World War II tries desperately to escape the insanity of the war. However, sometimes insanity is the only sane way to cope with a crazy situation.
Alan Arkin Martin Balsam Richard Benjamin Art Garfunkel Jack Gilford Buck Henry Bob Newhart Anthony Perkins Paula Prentiss Martin Sheen Jon Voight Orson Welles Bob Balaban Susanne Benton Norman Fell Charles Grodin Austin Pendleton Peter Bonerz Jon Korkes John Brent Collin Wilcox Paxton Philip Roth Bruce Kirby Jack Riley Felice Orlandi Marcel Dalio Evi Maltagliati Elizabeth Wilson Richard Libertini Show All…
Phil Adams Ron Burke Dick Warlock Paul Baxley Frank Tallman Richard E. Butler Steve DeFrance Alex Sharp
A 22-es csapdája, Moment 22, 第二十二条军规, Me sotasankarit, Der böse Trick, Catch-22 - Der böse Trick, Comma 22, Trampa 22, Punkt 22, Ardil 22, Hlava 22, Уловка 22, מלכוד 22, Параграф 22, Пастка-22, 캐치 22, Paragraf 22, تبصره ۲۲, Κατς 22, ხაფანგი-22, キャッチ22, Article 22
USAR
Brazile 16
Ireland15
PortugalM/16
Germany16
Italy
JapanR18+
Hungary18
Brazil
Germany
Hungary
Ireland
Italy
Japan
Portugal
USA
Catch-22 is a mess. I'm fairly certain it's meant to be. Episodic, non-chronological, absurd, and surreal, from a distance it looks and feels like it's trying to be too many things. Somehow director Mike Nichols manages (for the most part) to make it all work astoundingly well.
Beginning with one of the funniest first hours I have ever had the pleasure to see, Catch-22 parades its stars about in loosely-related vignettes highlighting the anti-war statement at the core of the story. From mess officers bartering parachutes to the locals (their original owners only noticing once they're in the air) to a too-brief cameo by a young Bob Newhart playing a character named Capt. Major (soon promoted to Major), the first…
I had read Joseph Heller's satirical anti-war novel as a college student before this film was made, and although the production featured an all-star cast, I didn't go to see the movie when it was released. My reason, quite simply, was that I had greatly enjoyed the book, and I didn't want to see someone else's version of it. I was certain I would be disappointed, and it might even have diminished my love of the prose version.
The plot involves an American bombardier based in Italy near the end of the Second World War, who tries to get himself declared insane so he can be relieved of service. The problem is that wanting to go home to safety only…
A New Hollywood giant for sure, but far more on experimental territory than Mike Nichols' master feats The Graduate and Whos Afraid of Virginia Woolf? His war satire Catch-22 is in his best moments a bizarre trip into the complete madness of a war situation, but overall it's not stringent and poignant like his brother in spirit Dr. Strangelove. Also not a candidate from the fun faction, but a work that you have to force yourself through.
feels like the film in itself is a catch-22, you need to have read (and loved) the book to truly appreciate it but you won’t appreciate it (as much) BECAUSE you read the book.
i could be wrong
do...do you guys think art garfunkel being cast in catch-22 was the 1970 equivalent to harry styles being cast in dunkirk. sorry
anyway this movie hurt my heart. FTA
I find this messy sprawl of a film very watchable on both a technical level and a performance level. Mike Nichols is doing some really interesting things with the camera in a pre-steadicam world. It's floating and whipping around but totally inconspicuous at the same time. It's huge Hollywood widescreen but then wonderfully claustrophobic in the cramped bomber planes. The one bomb raid scene from inside the plane has amazing anxiety marbled with dry humor. Nichols is also playing with time and editing in a very progressive for the time way. His first four films were really on the cutting edge of New Hollywood. The cast is also littered with pros across the board and it is a joy to…
With such an abundance of political material to choose from the period, Mike Nichols decision to bring this novel to the screen whilst America was over in Vietnam transposed the surreal madness of a war the author originally described with the increasing struggle in the Viet Cong.
The main idea of the 'Catch-22' term comes through Alan Arkin's Capt. John Yoassarian as he attempts to be deemed insane so he no longer has to fly bombing campaigns. He is a neurotic bombardier who cannot face any more of the ever increasing number of flying missions imposed on his squadron. Set during the Second World War, his Italian based unit find whatever means possible to cope with their Colonel's demands, many…
Weird and meandering on one hand, great cast and plenty of laugh-out-loud moments on the other.
First of all, I can't believe that Mike Nichols dropped four masterpieces like that to start his career. Secondly, one of those masterpieces is this film... A film that is seemingly overlooked by most. CATCH-22 is absolutely insane both in its ways it comments on war, life, men, politics, as well as how Nichols uses the medium. This is one of the most technically impressive films I have seen in quite some time. Everything from its long takes, deep space, staging, sound design, non-linear storytelling, smash cuts, match cuts, and more are all used to breathtaking levels. As a filmmaker, this was an awe-inspiring experience even if I got lost in the narrative a few times, which that isn't even…
One of those movies that went from being underrated when its reputation as a disaster mattered to be overrated when the reaction to it overshadow the initial reception. 1970 The Bonfire of the Vanities. only it is based in an actually good book. It captures very little of Heller’s flavor, it is bloated as it gets, Nichols can only make it work in fragments and the performances are all over the place. Yet, some of the big absurdist setpieces do have power to them, Arkin does the best he can to give the movie some center, there’s times when a good movie breaks out for 5-6 minutes before things revert to norm and there’s a fascination for its misconception.
Catch-22 had the misfortune of being released in the same year as the similarly themed MASH, but there's no question that Robert Altman's film is superior and deserved to take the honours in the 1970 'battle of the satirical war films'.
Catch-22's main problem is that there is too much going on. Too many characters, all barely stitched together at times. It's very unusual to hear me complaining about a film having a cast which is a bit too much, but I really do think that is the case here. Mike Nichols thinks they are all interesting and wants them to see some screen time, and I can understand where he's coming from. But these regular distractions stop the main…
“Rome was destroyed. Greece was destroyed. Persia was destroyed. Spain was destroyed. All great countries are destroyed. Why not yours? How much longer do you think your country will last? Forever?”
“Well, forever is a long time.”
“Very long.”
Catch-22 the novel was something I’ve been meaning to read for so long. I’ll still pick it up one day, as it’s a bonafide American classic, and from what I’ve surmised and read briefly about, this 1970 film adaptation varies considerably from the book — in terms of tone, plot, and structure. I’m very intrigued now to read it.
The Mike Nichols obsession continues, ladies and germs. I’m beginning to sound like a broken record in my Letterboxd reviews, I know.…
