DATELINE: So it goes!
Michael Sacks as Billy Pilgrim.
It sounds like a sequel to itself, and that’s how it goes. Billy Pilgrim of Kurt Vonnegut’s classic novella is a man unstuck in time.
Slaughter-House 5 goes nowhere repeatedly and quickly.
It might have been a traditional sci-fi fantasy, but author Vonnegut achieved some kind of immortality by dealing with timeless repetitive living by a man abducted by aliens—and “forced” to randomly re-live his hideous life, from surviving plane crashes to surviving the horror of Dresden’s bombing in 1945.
Michael Sacks plays Billy Pilgrim, an all-seeing optometrist and is the epitome of what you’d want in the actor: he is timeless and can play callow youth, and middle-aged crazy. Yet, Sacks provided mostly promise unfulfilled. He never rose above this, his greatest role. He became stuck in the mud as much as anything else.
Other names in the 1972 film became more household: Valerie Perrine, Perry King, Eugene Roche, Sorrell Booke, Ron Liebman, John Dehner, and on and on. The film is a litany of familiar faces of the age.
Music provided by Glenn Gould is Bach on harpsichord and limited to the alien scenes, which seems par for the course of the universe.
This was meant to be a great film based on a great book, but it’s not.
You might forget the movie if you don’t realize what the stakes were: Michael Sacks borders and teeters in his lead role from wide-eyed innocent to bewildered twit. He seems perfect for abduction and living in a zoo on another planet.
Billy goes from hapless POW to hapless toy for creatures from a fourth dimension. He slips from a Lion’s Club speech to a POW camp assembly in a blink. He goes from here to there in a hop of time travel that Einstein would envy.
“So it goes” was the existential motto and motif for the book Slaughter House 5, but you will never hear it once in this film. That may tell you the failings and inadequacies of the movie. So it goes, indeed.