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…
For a film that was ahead of its time, M*A*S*H is not aging particularly well.
Still funny though.
M*A*S*H is many things - mean-spirited, crude, misogynistic, racist - it's also a good movie. I think the problem here is feeling like you have to excuse or embrace the actions of its central characters. This is a sticking point for a lot of Tarantino films for people, too. Having said that, Altman clearly has more affection for his characters than many of us - he loved to gamble and drink and raise hell and was at least a bit of a misogynist - but I don't think he's expecting his audience to be OK with everything his characters do. They're supposed to be scarred, screwed-up people who are doing the best they can to deal with the…
Largely plotless, Robert Altman's MASH is a few months (?) in the lives of doctors in the army. I was never really into the TV show, so I wasn't sure what to expect from this. I liked it. We get glimpses of war victims in surgery, but otherwise the film doesn't concern itself with combat at all. It's pretty funny and the cast is great. Speaking of, the spoken end credits instead of text was interesting.
This is a beautiful mess of a film that has the surprising ability to know what it is going for and never divert from that goal. Its a satirical and very black comedy riff on the Vietnam war from the perspective of some chauvinistic surgeons that aims for absurdity and hits every one of its marks. I was worried the setting and subject matter would cause to film to cross over into drama once or twice, thus spoiling the joke and all that comedic momentum. Thankfully, the film remains consistently wacky and screwball for an entertaining watch throughout.
The main players are true gems becoming standout characters, uniquely defined and unforgettably well written. Sutherland charms as Hawkeye, while Gould and…
It was hard for me to separate the TV show from the movie, which didn't help. The slap stick just didn't work for me. Certainly had some funny moments, but overall I just couldn't get into it.
This time there actually IS a Sutherland credited! Plus there's Robert Duvall, so you really can't go wrong here.
I just love how the TV show based on this one lasted nearly 4 times longer than the actual Korean War did. I feel like it says a lot about something, but I don't quite know what.
And that end credits scene might be the best ever, I don't know.
MASH is another of that handful of movies that some would say I have seen far too many times. I am from that generation, as many of us here on Letterboxd are, that worked its way through college in video stores. Hell, I worked my way through high school in a video store too.
I was lucky enough, though, to avoid the Blockbuster experience for most of my video store employment, so when I was on shift I would cycle through my favourite movies, meaning that I watched MASH (or listened to MASH) about three times a week for a decade (Raiders of the Lost Ark averaged around six times). I know every beat of MASH, and the movie never…
Odd one. Somehow it's simultaneously dudebro humor and farsical war satire, and I'm afraid the latter can't help how obnoxious the movie ends up being. There is a morose aimlessness to Altman's ensemble comedy-dramas (I can't quite pinpoint what is it due to, feels like sort of a gestalt between screenplay, acting and mise-en-scene) that is just not my thing, although it is a complete, cohesive style for which I understand his acclaim. I do think he's much better when doing stuff like Long Goodbye or 3 Women, though.
There are, yes, ~problematic~ aspects to its portrayal of women ('Hot Lips' seems to be a walking punchline, crowned by that cringe-inducing scene where she's…
I liked this movie quite a bit. I watched it after hearing about it on the Next Picture Show Podcast. The panelists were quite hard on this movie because the characters are real shit heads. I understand their point and agree with them whole-heartedly, and I feel guilty for laughing. But I laughed. I liked the satire of the military types, and the satire of the non military types.
All that said, lots of stuff I did not laugh at, like the big rug match the curtains scene. Some women are complicit. The men are just awful. That kind of shit gets you expelled or jailed these days as assault. Can you imagine if your friend needed counseling and to…
The first 1012 films are from The 1,000 Greatest Films list, and maintain the original order. The films that follow…
Originally a list made prior to Cannes 2014, now updated every mid-April.
This is every Palme d'Or nominee since the…