100 BEST WAR MOVIES: #52. Catch-22 (1970)

 

Complex novels can be difficult to bring to the screen.  Mike Nichols (“Charlie Wilson’s War) took on one of the more difficult novels when he decided to make “Catch-22”.  Joseph Heller’s novel is nonlinear and full of bizarre characters and labyrinthian dialogue.  Buck Henry (who plays Lt. Col. Korn) wrote the screenplay and Nichols assembled an eclectic cast.  Paramount gave Nichols a big budget and he used part of it to get 17 vintage B-25 Mitchell bombers.  Six months were spent on the camerawork for the bombers alone.  This required 1,500 flight hours.  Unfortunately, little of the footage made it into the film as it is not an aerial combat movie.  It is an anti-war satire that is often compared to “M*A*S*H”, which was released the same year.  It was this coincidental release that probably contributed to the box office failure of “Catch-22”.  The increasing unpopularity of the Vietnam War seemingly left room for only one successful war satire and the public chose “M*A*S*H”.  Another factor was probably the fact that it made fun of WWII.

            The movie opens sans music over the credits. The bombers line up for takeoff. The pilots give the thumbs up to the tower, but bombardier Yossarion gives the finger.  The takeoffs of the 17 bombers is one of the great war movie openings. This transitions to a discussion between Milo Minderbinder (Jon Voight) and Col. Cathcart (Martin Balsam). Minderbinder has an idea for how the unit can make some money. Their discussion continues  unfazed despite the crash of a bomber nearby. This is our first clue that the movie is a black comedy.  Yossarian is the main character among an ensemble of colorful characters. He is suffering from PTSD due to an incident involving a wounded gunner on his bomber.  He is also frustrated by Cathcart’s continual bumping up of the number of missions required to go home.  The standard is 25, but the colonel gradually moves it to 80.  Yossarian believes his only hope of survival is to be declared insane.  In an iconic scene, he discusses this option with Doc Daneeka (Jack Gilford).  Doc explains that Yossarian cannot be removed from combat because of Catch-22.  To be flying these dangerous missions, you would have to be insane.  But if you proclaim that you are insane, it means you are sane because you realize how dangerous things are. Either way, there is no way out.

ACTING:                     A

ACTION:                     N/A

ACCURACY:                N/A

PLOT:                            B

REALISM:                      N/A

CINEMATOGRAPHY:   A

SCORE:                          none

QUOTE:  Yossarion:  Let me see if I've got this straight. In order to be grounded, I've got to be crazy. And I must be crazy to keep flying. But if I ask to be grounded, that means I'm not crazy anymore, and I have to keep flying.

BEST SCENE:  the base bombing

                The movie pares down the numerous arcs of the book to a manageable few.  Yossarian’s character is the glue that holds together the arcs.  Henry has created a mostly linear plot, with intercuts to Yossarian’s wounded gunner incident playing out periodically.  While many of the scenes are vignettes fleshing out the supporting characters, there is a central arc involving Lt. Minderbinder (Jon Voight) creating a black-market syndicate with the cooperation of Cathcart.  This manages to incorporate two of the movie’s themes:  even in war, America remains a capitalist country (war is a business) and the higher you go in the chain of command, the more incompetence and corruption you encounter.  This is exemplified when Minderbinder arranges to have their air base bombed in order to unload surplus cotton.  In another scene, the squadron is awarded medals by Gen. Dreeble (Orson Welles) for a tight bombing pattern even though Yossarian had the bombers drop the bombs in the sea.  Yossarian receives his medal in the nude.  Scenes like this harken to the insanity of the Vietnam War, even though the movie is set in WWII and the squadron is based on an island in the Mediterranean.

            “Catch-22” deserved better than it got when it was released.  It has become something of a cult classic since then.  People now appreciate the game effort to bring an unfilmable book to the screen.  Henry was faithful to the dialogue of the book and some of his own lines had Heller wishing he had thought of them. A good example is when Yossarion argues with Minderbinder about how the dead Nately would not benefit from Minderbinder’s “investments.” When Minderbinder states that Minderbinder’s family will benefit, Yossarion points out they are already rich. Minderbinder: “Then they will understand.”    Henry eliminated many characters and switched some of their dialogue and experiences with other characters.  Most of these changes and omissions were wise cinematically.  The ensemble cast does a fine job and the casting was spot on, with the coup being Orson Welles.  All of the main characters are familiar and appealing comedic actors.  Arkin is fine as Yosserian, but Voight shines as Milo.  The nature of the absurdity does require the actors to lay it on a bit thick at times, especially in a silly scene involving Dreeble’s WAC.

            Nichols brings some flair that is missing in “M*A*S*H”.  The cinematography is noteworthy with special mention going to the take-off of the bombers and the pyrotechnical fireworks of the bombing of the base.  Cinematographer David Watkin uses a stationary camera and avoids the hyper-cutting of modern war movies. He uses some long takes, deep focus, and rear projection. The aerial scenes are quality over quantity and the interiors are authentic-looking. The editor did some nifty transitioning between scenes.

                  “Catch-22” is not for everyone and it is easy to see why it did not do well in 1970.  It is not a typical war comedy.  You have to bring some intellect to the table and be in the mood for satire tinged with absurdity.  It has some shock value.  Shocking for a 1970 big budget picture, there is full frontal nudity provided by Paula Prentiss - of all people!  To be fair, we also get Arkin’s ass.  You get to see Martin Balsam sitting on a toilet.  The big reveal about Snowden’s cause of death packs a punch. As does the whole movie as it skewers the “Good War.”