All the films from all the editions, including those subsequently removed, presently totalling 1167. 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.
“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…
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…
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…
Really truthful satire isn't funny, it's painful.
I just can't enjoy watching this movie. It's so damn bleak and depressing. The colors scheme, the deep greens overrun with the blood red, the music, the frumpy characters. Nothing about this movie is enjoyable. The humor doesn't make me laugh, it makes me uncomfortable. It's all about terrible jokes told in terrible circumstances. That's what makes this movie run. The contrast of the mobile army surgical hospital with the good spirits of the crew that works there. It's affecting. As the characters on the screen move from day to day, we're forced to keep going along with them. I know people really love this movie and will watch it on repeat, but…
Whether it's the film or the tv series everyone has their favourite M*A*S*H* character. Hawkeye,Trapper,Duke,Hot lips,or even crazy Frank Burns,one will always appeal to your personality. For me Robert Altman's film is head and shoulders above the tv series and for me it doesn't come any better than Donald Sutherland's Hawkeye and Elliott Gould's Trapper.
Sutherland's Hawkeye is a sarcastic and truly original character full of confidence with an eye for the ladies. Gould's often monosyllabic Trapper just oozes cool and is the renowned chest surgeon of the camp. Another joker and drinker he has his heart in the right place.Forever challenging authority,the two lead an almost hedonistic life of women and Martinis with the odd bout of surgery thrown…
Ah man, I loved Mash so much.
Definitely my favourite Altman so far (although a lot of work still has to be done). Donald Sutherland, Elliot Gould and Tom Skerritt are absolutely insane!!
THE funniest Football game I have ever seen.
Yet, this movie is able to convey a level of desperation and sadness that something like Apocalypse Now and even Come and See cant quite reach. The fact that these surgeons feel the need to be as silly as they are just to remain sane amongst all the corpses shows just how far beyond denial they are. This complete evasion and denial of the atrocities around them is something I haven't encountered yet. Mash is often compared to Joseph…
The Korean War is turned into a frat party. Surgeons become childish pranksters. Both Catholic and Christian faiths are proven clueless. Military regulation is only cumbersome bureaucracy. In short, nearly every major social system (medicine, law, religion, sexual politics, mortality, race relations, and even sportsmanship) is satirized to the point of absurdity. Hawkeye, Trapper John, and Duke are sheer forces of chaos and anarchy, deconstructing the significance of any system they come in contact with, providing a darkly comic solution to the tensions of a Vietnam era America.
Much of MASH's sexist humor towards its female characters, especially the walking object of the male gaze that is Hot Lips, has not aged well, however. The film also drags during the final act, proving the vignetted structure too thin for a nearly two hour runtime. Altman would refine his narratives as his career progressed, making MASH an amusing sophomore, but juvenile in comparison to later efforts.
::Review Still in Progress::
This almost feels like version of MAD Magazine for those of us who occasionally listen to NPR but love Leonard Cohen. Besides the iconic poster art, and the Greek chorus radar announcements. I thought this was most apparent in I saw this movie growing up and it definitely put a bad taste in my mouth because of the way most of the female characters are sketched here. I think the thing that may make Altman endure in an undercurrent of every generation of filmgoer is the way he seems to subvert expectations for the story he's choosing to tell. Interesting to think they actually brought the actor who played Radar along to the television show. The cluster of relationships within this world are so endlessly fascinating. Overlapping dialogue, overlapping scenes, strange, out-of-the-blue editing rythms.
The ways we act to maintain some kind of social order...
Would have worked as an anti-war black comedy if it spent less time celebrating unbalanced hostility toward religion and the frat-boy-esque degradation of women.
Gosh, I just don't understand it.
Credit where credit is due -- "MASH" deserves kudos for having the guts to, in 1970, attack certain traditional values without holding back. The problem for me was that this audacity was overshadowed by so many other distracting and often distasteful elements.
Where to begin? For starters, this was billed as an anti-war movie. And I suppose it is by default, because a few gruesome bodies bleed on operating tables, and hey, there's a protracted football game at the end featuring some painfully-obvious symbolism. But there's absolutely no effort by director Robert Altman to actually portray the dehumanizing, hellish conditions of warfare. We don't see, at any point in the movie, even one way…
I haven't laughed this much while watching a movie alone since "The Last Detail."
Altman's first truly Altmanesque movie finally clicked for me. It's a hilarious, orchestrated mess of a movie. A living, breathing, bleeding, excreting, martini-drinking movie. I never felt like I needed a shower so badly after watching a film. It offers no apologies for what it is. It's dense, full of unlikeable characters, sexist, homophobic. It's like an old, chain-smoking drunk uncle who always pisses everyone off, but is remembered with fond laughter after he's gone.
A chaotic, anarchist, free-form orgy of hi-jinks and subversion of authority. The main characters flaunt their disdain for so-called sacred cows -- the military, God, the surgical room, marriage -- and exhibit a happy-go-lucky spirit in situations where most would display solemnity and respect.
The operation scenes were shocking in their day, but what remains jarring in the new millennium is the almost complete lack of narrative, and free-floating directing style that would become Robert Altman's trademark. The overlapping dialogue still makes me laugh in its deadpan delivery.
The characters (notably Gould and Sutherland) are funny and memorable. And the script, such as it is, is excellent. It's got such a madcap sensibility throughout that it's impossible not to laugh, or at least find a great deal of intrigue in every scene.
To paraphrase Shakespeare: "I had not known irreverence, till I saw thy face." Altman's clasic war tragi-comedy takes absolutely nothing entirely seriously–not the US military, not war, not love, not sex, not religion, not death itself. I think it is precisely this farcical attitude that forces us to look at war in a painfully honest way. Strip away the grandeur, the deeds of valor, the glorious battles, the ideologies, and what is war but a great, bloody, costly, heart wrenching joke?
"Attention, all base members must report for a drug test for marij- marijua-... disregard last transmission."
The perfect use of irreverent humor and attitudes to lampoon a genre while also coming away with saying something deeply meaningful about war.
- A Trip to the Moon
- The Great Train Robbery
- The Birth of a Nation
- Les Vampires
- The Racket
- 7th Heaven
- Sunrise: A Song of Two Humans
- Chang: A Drama of the Wilderness
Every film that has ever been nominated for an Academy Award in any category. Enjoy!
- Citizen Kane
- 2001: A Space Odyssey
- Tokyo Story
- The Rules of the Game