Give me your top 10 favorite comedies!
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…
Film #11 out of 50 in Scorsese Summer 2016
This had such wasted potential, it's easy to see it. I laughed more than one time but honestly, I don't see why it should be funny. I am not asking for background laughs, it's just that what this film sees as funny it doesn't, the jokes get lost almost everytime and many of them are quite uncomfortable.
Man o man do i have mixed feelings about this movie.
It's very strange to even talk about this movie as a movie, because it feels like a BIG pilot episode of a tv series (that actually happened). There's little to no plot. Everything that happens are just random stories put together and yet I kind of liked it.
I liked the characters. Hawkeye, Hot Lips, Radar and all the others. I liked most of the random stories that happened. And I liked the whole care free atmosphere during the whole movie, which was set in one of the most traumatizing places in history.
Well done movie! Well done.
MASH appears to be the blueprint for the free wheeling hangout film made popular by Linklater and Tarantino. Altman effortlessly moves from scene to scene without much of a narrative that drives the movie. The only aspect of this movie that kind of turned me off was the mean spirited depiction of "Hot Lips" and how the army doctors treated her and other women on the bases in general. I doubt audiences were turned off by that aspect at the time but that is the only part of the movie that I feel ages poorly. Otherwise it's really entertaining and lots of fun to watch. My Altman movies are the ones that go for comedy over anything else. He has a great comedic touch.
"It's Altman at his irreverent, hilarious best."
MASH is a classic whose alleged brilliance somewhat eludes me. I've never found it particularly funny. That, of course, doesn't mean it is nothing but a blip in cinematic history.
The film is an anarchistic comedy whose contemporary reputation is being slowly, but surely, demolished by individuals who take offense at its portrayal of a secondary female character. They argue that Hot Lips is stupid and not well-treated by her fictitious companions, which can only mean MASH is misogynistic, sexist, ugly, insulting, worthless and should be banned from all existence.
Let's get this straight: in modern times, certain people cannot tolerate a purposely dumb female character in a comedy. A comedy in which she is definitely not the only idiot.…
I don't quite get Robert Altman yet but this is a good introduction to how he films people-lots of tracking shots, close ups, wide horizontal shots of scenes, he is interested in how people interact with each other and their environment and how said environments effect people.
Hilarious hijinks about sums it up. There are enough pranks and smart ass comments to go around the entire 4077 to keep the film entertaining the whole way through its two hours of length. The actors were clearly given plenty of freedom to ad lib with Ring Lardner, Jr.’s script and it works to the film’s benefit. Some of the best moments are the clearly improvised banter between Sutherland, Gould, and Skerritt, which gives the viewer the impression that great fun was being had by all in the making of this film. There is less the impression that one is watching a film, than one is simply hanging out with friends. Which is just as well, since hanging out with…
At my friend Jim's house and we watched MASH and then again with the Altman commentary. In some ways the film is less thrilling than I remembered when I first saw it. But in other ways - mostly in the way that Altman is able to create a place and a mood - it is astonishingly briliant.
All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
Originally a list made prior to Cannes 2014, now updated every mid-April.
This is every Palme d'Or nominee since the…