” is two documentaries in one.
He picked up the project decades later, long after Vonnegut had died . Weide has a lot of great footage, and he had shot incisive interviews with Vonnegut and his family members; that’s what gives “Unstuck in Time” its satisfying period texture. But Weide also keeps telling us the completely unnecessary backstory of how he put together his long-delayed documentary, and the main motivation for this seems to be to chronicle his friendship with Vonnegut.
The film is on livelier ground when it simply sits back and tells Vonnegut’s story. He built his artistry on a grand paradox: If you scrutinize his novels for their Vision Of Existence, it’s easy to say that Vonnegut took a rather dim view of the human animal, teetering between absurdity and outrage. Yet the key to Vonnegut’s popularity is that he did it all with a consummate sense of, observing his own misanthropic tendencies with the joy of a cosmic comedian.
Early on, the movie tells us that Vonnegut, when he was a prisoner of war in Germany, put his head against the trunk of a tree and literally foresaw what would happen in Dresden. He saw the future, and since time travel is the mechanism of “Slaughterhouse-Five,” and Vonnegut could almost be classified as a sci-fi writer, we wonder if the movie is going to play with our heads in that way. But, in fact, it drops the theme of Vonnegut’s psychic bent entirely.
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