18 years after the novel was published, Joseph Heller’s Catch-22 – a black comedy set in wartime Italy – hit the big screen. At one point, it looked as though it would be filmed by Stanley Kubrick, but the man at the helm of the $10 million Paramount production was Mike Nichols.
Alan Arkin headed a starry cast as Yossarian, the pacifist American Army Air Corps bomber pilot trapped in the coils of military double-think contained in the title and personified by Orson Welles’ monstrous General Dreedle.
The ‘catch-22’ of the title refers to a military snafu whereby Yossarian attempts to get out of the military by feigning insanity – however, completing the required paperwork for this proves him sane.
No matter how crazy Yossarian behaves, the Army Air Corps is crazier. His superior officers are buffoons and his peers are maniacs, especially Milo Minderbinder (Jon Voight), a wheeler-dealer who soon has the entire war effort working for his personal profit.
Shot at a cost of $18 million – with Mexico substituting for the Mediterranean – the film is mounted on a grand scale with at least a dozen B-25 planes enlisted to provide an appropriately grandiose bombing campaign.
The picture represented a considerable technical triumph for Nichols, but he was only intermittently successful in transferring Heller’s bleakly surreal vision to the screen.
David Watkin’s camerawork is brilliant, capturing the feel of the bright sunlight of the location.
Lieutenant Colonel Korn
General Dreedle’s WAC