M*A*S*H

I should probably watch this again, since so many consider it a masterpiece. Maybe I was over-prepared (Hey, it took me a second viewing of 'Citizen Kane' to get my past pre-set expectations!). But while I could see why M*A*S*H was groundbreaking and important for a Hollywood film of it's day (lack of the usual clear narrative line, anti-war stance, overlapping, improvised dialogue, sexuality, bloody operating room scenes serving as ironic counterpart, etc), it felt pretty dated and unfocused. There are some very funny moments, but a lot of the ironies seem easy, and there's a lack of a true darker underpinnings and ideas, unlike, say, 'Dr. Strangelove'.

A lot of the humor is juvenile, cruel and silly. And while I get that's the point – nothing can be more deeply juvenile, cruel and silly than war, it got repetitive and heavy handed after a while. The performances are good, but beyond Robert Duvall, none of the characters have much in the way of dimensions. People stay exactly what we think they are from the moment we meet them.

Walter Chow makes a good argument on the web site 'Film Freak Central', that the sexism, homophobia, etc are the whole point. Altman is saying we're ALL beasts at heart, even if we act like we're bucking the system. It's an interesting idea, but I'm not sure I buy it's what Altman was intending.

"MASH" broke barriers and defied conventions when it was first released in 1970. It still does today.

The pendulum has swung back a lot since 1970, and for that you still get a sense of the pioneering spirit with which the film was made. The overlapping dialogue. The non-linear, character-driven plot. The caustic humor. The attacks on religion (real religion, as the New York Times noted when the film came out, not false sanctimony but actual belief in God.)

Yes, in those ways the film is as powerful now as it was when it was first released. But you see something else, something audiences didn't see in 1970, so blown away were they by the newness of it. That is the picture runs out of gas halfway through.

You have a powerful beginning, that eerie montage with the strange song "Suicide Is Painless" playing mournfully while doctors, nurses, and orderlies silently rush to relieve choppers of their human cargo. It's quietly effective, immediately giving you a sense of the 4077th MASH unit (looking much bigger and grimmer than it ever did in the TV series) and coming as close as the movie ever does to delivering an effective anti-war statement. The movie builds from there as we meet the various characters, beneficiaries of their actors' strong improvisational work. It feels like real-time eavesdropping on a community of actual human beings. Scenes like Major Burns and Hot Lips' transmitted tryst and Painless Pole's suicide attempt are not as funny as we are meant to think, but they are well shot, especially the Painless Pole bit, the best thing in the movie for pure entertainment. The way all the guys in the Swamp crack up when Painless tells them he's decided to kill himself may be the film's funniest moment.

What happens next feels like a wrong turn. Hot Lips becomes the subject of a camp bet that exposes her to massive humiliation. Call it "indecent" or "politically incorrect," it is just plain wrong, exposing the film's (and its director's) nasty streak toward women and alienating any concern you might have built up for the characters. When she and Burns were targeted before, you had a sense they had it coming because of her overbearing military approach and his blaming orderly Boone for killing a patient. This time, she's a spent force, no threat to anyone, and "a damn good nurse," as Trapper says, just doing her job as best she can despite her earlier bad experience. I'm struck dumb at the idea I'm supposed to be laughing when she rushes into Col. Blake's tent in shock and tears.

The film never recovers. Instead, it veers wildly off course, away from the camp and into two radically pointless subplots, one involving a trip by Hawkeye and Trapper to Japan where they operate on a congressman's son and a sick infant (some sort of parallel there, though lost on me), the other a football game that apparently was director Robert Altman's comment on the folly of war, but to me just shows what happens when you allow your characters to veer off-script for so long you can't make it back to the ending as written. The game takes up too much time, throws in goofy circus music complete with slide whistles, and features the once iron-willed Hot Lips in the role of outlandishly enthusiastic cheerleader for all the people who tormented her so viciously for the duration of the film. Sally Kellerman's performance in the second half of the film is nothing like it was in the first half; it's embarrassingly, cartoonishly bad. Altman should have reined her in, but you get the feeling he was just rushing by then to get it all in the can before the studio figured out what he was up to and took his film away.

Altman was just so much better making "Nashville." Obviously he learned a lot. It's amazing how pasty everyone in this film looks, particularly Donald Sutherland, who seems leprous. No wonder he tried to get Altman fired. So much of the supporting players faded away, and though they do good work, it's not a surprise. They all seem so squalid and ugly as Altman shoots them.

It's interesting comparing the characters here to their counterparts in the TV series. For me, the TV characters are usually preferable. Robert Duvall mines zero comedy from Frank Burns, playing him very seriously in comparison to Larry Linville's more likeably miserable TV Burns. Roger Bowen had a great voice, but is nearly robotic as Blake, having none of McLean Stevenson's panache. What's worse than a pompous moralizing Hawkeye with Groucho affectations? How about that annoying whistle! Even Gary Burghoff, the one real holdover from film to series, plays a nastier Radar in the movie, meaner, tougher, less innocent.

The whole film is mean, tough, less innocent. It gets points from me for that. Altman and his cast develop a magnificent mood right away. But they fail to do very much with it. "MASH" is a great 45-minute-long movie that just goes on too long.

"MASH" has always been one of my favorite comedies of all time. It isn't as funny as it is great (although it IS very funny), and the main reasons that I find it to be so great aren't even because I find it to be funny. Probably the main thing I love about "MASH" is the film's style. It broke the rules of mainstream cinema, and gave us something different, something new! It gave us Robert Altman, one of the greatest, most influential, and most unique filmmakers of all time. The way Altman made "MASH" is very important. He let his actors improvise and he used tons and tons of (hilarious and chaotic) overlapping dialogue. The film also has excellent cinematography, a fast pace, and an anti war message.

The gory surgery sequences seem like they belong in a horror film rather than a comedy, but they may be the most important part about the film. Without them, the characters aren't fully developed, and the powerful anti war message is completely removed. Those surgery scenes allow us to see the more serious side of the wacky, prankster characters. We get to see them get that big grin off their face, and replace all of that childish behavior with serious medical work.

"MASH" is one of the most entertaining and funny films ever made, but, more importantly, it's influential, intelligent, and an important part of film history, and one of Robert Altman's best and earliest films.

This picture is quite interesting in its portrayl of how one can cope during the stupidity of war. There is no message in this picture, there is no strong narrative, no story. It's a barrage of jokes edited together perfectly. Altman's direction is quite unique, the strong zooms, the editing, over-lapping dialogue. The fact that there is no plot throws up challenges, and I certainly admire the effort put into this by all concerned

The production values are terrific and the photography is miserable, which is perfect!

Sutherland is so damn perfect, such a terrific performance, I love the goofy style.

There are times when the picture isn't interesting and sometimes things fall flat. But there are jokes and laughs which this film relies on during the absurd war, it's the joking that keeps these characters alive.

I wouldn't say this picture features a good screenplay but the direction is so unique that it deserves to be seen by everyone. They don't make challenging works like this anymore.

Remember to watch this film in widescreen otherwise you'll miss out on 43% of the picture.

M*A*S*H is a groundbreaking film. Along with Catch 22, M*A*S*H had the audacity to ridicule two of the pillars of American society: war and religion. Whether you find this appalling, subversive, treasonous, outrageous or funny depends on your political and religious orientation. Surely the religious right will find the film blasphemous and the political right will find it treasonous. No matter what your point of view, M*A*S*H is certainly an in-your-face film.

The irony of the film is that for the time it was considered gruesomely bloody. Yet there are no battlefield scenes; all the blood is in the surgical unit. The CSI TV series shows more carnage than M*A*S*H, but M*A*S*H was filmed over 30 years ago.

M*A*S*H is loaded with bizarro characters. Donald Sutherland, Elliot Gould, Robert Duvall, Tom Skerrit, Loretta Swit, Radar are all insane in their own way. In "M*A*S*H," everyone is cruel, playing mean practical jokes and the anti-heroes Donald Sutherland and Elliott Gould are just plain heartless. They absolutely torment Major "Hot Lips" Hoolihan and Robert Duvall. None of the characters in the film tries to be funny. There are no jokes. The humor just grows from the situation which is the grim reality of a mobile surgical unit whose doctors and nurses try their best to repair the horribly mutilated bodies from an insane war. Having worked in a hospital setting, outrageous and black humor is commonplace, especially in the ER, but in M*A*S*H it's taken to a new level.