All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
M*A*S*H Gives A D*A*M*N.
One of the world's most acclaimed comedies, MASH focuses on three Korean War Army surgeons brilliantly brought to life by Donald Sutherland, Tom Skerritt and Elliott Gould. Though highly skilled and deeply dedicated, they adopt a hilarious, lunatic lifestyle as an antidote to the tragedies of their Mobile Army Surgical Hospital, and in the process infuriate Army bureaucrats. Robert Duvall, Gary Burghoff and Sally Kellerman co-star as a sanctimonious Major, an other-worldly Corporal, and a self-righteous yet lusty nurse.
Groundbreaking, era-defining, and culturally significant in its time. Also hateful, sexist, racist, and endlessly pleased with the protagonists for their bad-boy behavior of bullying the entire military (and especially, endlessly, women) and getting away with it. I hated the whole experience of watching this, in spite of the incredible cast, the haunting opening song, and the chance to see Robert Altman developing his voice. Roger Ebert's 1970 review said the film is "true to the unadmitted sadist in all of us… it is the flat-out, poker-faced hatred in MASH that makes it work. Most comedies want us to laugh at things that aren't really funny; in this one we laugh precisely because they're not funny." I just can't find the…
“I wonder how a degenerated person like that could have reached a position of responsibility in the Army Medical Corps!” “He was drafted.”
To show it is to sell it. That’s the thrust of the oft-quoted notion, attributed to François Truffaut, that it’s nearly impossible to make an anti-war film. The depiction cannot help but ennoble and romanticize, even if the intent is to do anything but. The solution? Don’t show the war at all.
Robert Altman’s M*A*S*H, which contains nary a battle scene, is as effectively unromantic a film as one could produce on the subject of war. The inhabitants of the 4077th Mobile Army Surgical Hospital are raucous and witty, but they’re so very angry. They seethe at…
M*A*S*H, often considered the “first” film of the 1970s, is a lunatic satire that follows the unconventional (with no real structure or train of thought) story of Benjamin “Hawkeye” Pierce (Donald Sutherland) and “Trapper” John McIntyre (Elliott Gould), two Korean War Army surgeons who adopt a whimsical lifestyle so they can escape from the tragedies of war and of their MASH (Mobile Army Surgical Hospital); Ridiculing and poking fun at everything that surrounds them is the solution that these two hilarious surgeons find to avoid the melancholy of war—Altman's highest-grossing film is the perfect tragicomedy.
Using the forgotten Korean War (the war no one really cares about because maybe it was not too violent to be considered relevant) as the…
i told myself i'd watch objectively this time, but...i just can't. for a many-month period of my life i watched MASH every night, on a 10" tv/vcr combo that i kept right next to my bed. i'm not sure if it was the color palette that soothed me, or if i just wanted Hawkeye & Trapper to escort me to my dreams, but this film has always been like a warm hug for my eyes. maybe it's creepy to find such a morbid and emotional comedy so comforting, but there's something about that special Altman ambling charm that lulls me into a smiling hypnosis. lots of the jokes are laugh-out-loud, but mostly they just make me feel good inside. every introduction…
This isn't a hospital! It's an insane asylum, and it's your fault!
Ring Lardner Jr., who was just coming off being blacklisted as part of the Hollywood Ten, wrote a screenplay adaptation of the novel MASH: A Novel About Three Army Doctors. 15 directors would pass on it before Robert Altman got his hands on it and, much to Lardner's chagrin, made it his own. Using the script as an outline, Altman freely changed scenes and encouraged his actors to ad-lib the dialogue but still gave sole credit to Lardner for the script.
MASH, taking place during the Korean War, is actually thinly veiled commentary on the Vietnam…
[original, un-"neutered" one-sheet]
Wrote a Scenic Routes column about my conflicted response, though it leans more heavily on a charitable reading of the characters' repugnant behavior than said response really warrants, because I want to give Altman the benefit of the doubt (and also because I didn't feel like wading through dozens of comments calling me a SJW, though I still got a few.) While I like MASH a bit more than I did when I first saw it (which would've been ca. 1989–91), its ugliness still often seems intrinsic rather than strategic. In particular, the film clearly despises Hot Lips, and not merely because she's a humorless authority figure; compare her literally shrieking confrontation with Col. Blake to…
June Scavenger Hunt | Film #5, Task #6
A favorite film from one of your Letterboxd friends that you haven’t seen yet (check the four films at the top of someone’s profile)
Sadly I forgot to write down whose profile I found this favorite on. As with task #8, a film recommended by a friend, this task was basically also a recommendation that didn't deliver. Despite the film's great fame, resulting in a TV series, famous theme song and some great cast members, I found myself bored and somewhat insulted by the crude humour. I had expected something else apparently, not some sort of Police Academy / Porky's prequel. Still, glad I can finally scratch this off my watch list.
There are certain comedies out there that have a special spark to them, and MASH is definitely one. Like the Marx brothers, it has a magic mixture of chaos, subversion and charm, but it also has an interesting idea all of its own — a constant fight between life and death to counterbalance the hijinks.
Some of the sophomoric humor is painful to watch in 2016, however, espeically the relentlessly demeaning behavior of the men towards the women. In particular, I wish I could go back in time and convince Altman to take out the whole sequence about Painless's "suicide"; it's insulting to both homosexuals and women (like, why does Lt. "Dish" just agree to be passed off to another…
"Goddamn army!" "That is all."
This review may contain spoilers. I can handle the truth.
After watching 11 season of the MASH TV show, it's hard to separate the film from the series and the dramatic tone the show took in its later seasons. The movie MASH intercuts its episodes of life at the 4077th with scenes of the doctors working on patients in utmost professionalism (in terms of work ethic), and yet even though these scenes are played with no sense of tragedy and more of a this-is-every-day-here attitude, one can't help but be influenced by the seriousness of the TV show and expect some darker meaning to come out of it. When none is found, the viewer ascribes it themselves, to this film's detriment.
MASH is a non-stop string of episodes with action…
I know my Dad used to watch this movie all the time but not much of it stuck with me. A couple years ago I was at Safeway in the frozen food section, I looked over beside me and Donald Sutherland was buying a frozen pizza while wearing a camo hat. I was going to yell out "Hawkeye!" but in the moment I couldn't remember what his characters name was. I ended up yelling out "Sparrow!" and he just sort of stared at me and slowly walked away.
Groundbreaking and subversive in its time, still very fun to watch - and a little bit repellent too. Some of the casual sexism and racism thrown around is jarring but was of the time it depicts, so one just has to, like, deal with it.
Altman was the master of fucking with the expectations of what a genre movie should be...he did it to a Western, a gambling story, a film noir and behind-the-scenes musical. Here he got that intensely hot streak of great films going with a twisted take on a war film...one entirely devoid of combat, but with plenty of blood and guts. No one handled stories without heroic protagonists as well as Altman.
I kept thinking "these guys are assholes" after each bit of inspired prankster cruelty...but, I have to admit, there is more than a little bit of them in me...and in most of us, I suspect. Genius!
There are some questionable, if not resent-able politics of sex and gender, but MASH is still a great, plotless hang-out film. It's 46 years old at this point -- so feminism existed, but wasn't something about which soldiers talked. The comedy of MASH, combining the witty and the goofy, alongside Sutherland and Gould's charisma really make the film still work. Also, this could be considered the coming out party for Altman's style, as it was much more technically ambitious than his previous work, That Cold Day in the Park, although the storytelling was not nearly up to par.
I don't know. It didn't catch me.
Maybe it's dated.
Originally a list made prior to Cannes 2014, now updated every mid-April.
This is every Palme d'Or nominee since the…
Complete list. :-(