Exchanges like that come more or less straight out of Heller. The novel’s most incisive passages, such as the old Italian pimp’s disquisition on Italy’s glorious losing streak holding the key to its longevity, remain fresh and arresting. (Giancarlo Giannini’s perfectly cast here.) Not all of “Catch-22” has aged as well. If there’s a significant downside to this miniseries adaptation, it’s the way some of the montages and golden-memory sequences — Yossarian and the boys swimming, laughing — feel designed for the wrong sort of nostalgia, and another kind of war story entirely. The revised ending doesn’t quite land, either, though Heller’s own antic finish wouldn’t work here, or now, just as the 1970 film’s capper felt slapdash and a little off.