M*A*S*H

I too, like another reviewer, had seen this pic only after being accustomed to the TV series. The TV show's characters had a warmth and comradeship, especially in the later seasons. Hawkeye, Trapper or BJ might have teased Frank, Hot Lips or Winchester, but always with a twinkle in their eye. In the movie however, despite Trapper avenging Frank's blaming an intern for a soldiers death and Hawkeye's helping Painless's "problem", I found the movie's characters extremely self-centered, hard-nosed, mean-spirited and hubristic. Hawkeye and Trapper just walk over anyone and everybody to have their way. I guess they feel they are such good surgeons that they don't have to obey any Army regulations. In the REAL army of that period, their shenanigans would have them in court-martial in less time than you could say "I like Ike." Everyone excepting Radar, Father Mulchay and Spearchucker comes across as stuck-up morons. The movie and TV show seem to be completely about something different. I sympathize with the Tokyo jeep driver's sentiment "Goddam Army!"

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.

This is truly the best military comedy ever made. It is funny, yet it realistically depicts the savagery of war and the non-chalance it gradually inspires in its victims. For example, some of the funniest, yet also most disturbing, moments in the film come when the doctors are operating on wounded soldiers, complete with gruesome sound effects, yet are discussing extremely trivial matters.

The film also benefits from some great performances. Donald Sutherland and Elliot Gould were excellent as Hawkeye and Trapper John. They both had a streak of good movies during the 70s. Robert Duvall is amusing as a pious major whose fanaticism drives our heroes to extreme measures. Sally Kellerman and Tom Skerrit also put in good performances in their roles; it is a pity that these two actors are not better utilized nowadays.

No, not the very wonderful TV series. The Robert Altman film with Donald Sutherland as Hawkeye, Elliott Gould as Trapper John, and Radar as Radar. This is a dark comedy, but it's a delight from beginning to end. And even more effectively than the TV show, the movie illustrates the complete insanity of war. (But even the movie doesn't depict Jesus on the cross hanging from a helicopter. For that you'll need to read the book.) Like most Altman films, this one is episodic. It's also gritty, grim, bloody, offensive, and charming. And Frank Burns (Robert Duvall) is not a character watered down and humanized for television. This is an example of a film so rich in detail (like Altman's "Popeye," come to think of it) that it demands multiple viewings.

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.