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M*A*S*H (1970)
Tomatometer
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Reviews Counted:36
Fresh:32
Rotten:4
Average Rating:8.3/10
Synopsis: With the release of Robert Altman's M*A*S*H in 1970, a new form of comedy was born, one that would help to forever change the face of cinema. Altman's audacious film reflected the American... With the release of Robert Altman's M*A*S*H in 1970, a new form of comedy was born, one that would help to forever change the face of cinema. Altman's audacious film reflected the American counterculture's growing distrust of religion and government in the late 1960s and early 1970s, resulting in one of the biggest box office smashes of its time. Introducing the techniques he would employ throughout his storied career--overlapping dialogue, a constantly moving camera with a heavy amount of zooming, and a bold combination of frank subject matter with cynical humor--Altman immediately vaulted himself to Hollywood's upper ranks. Based on the novel by Richard Hooker, M*A*S*H follows a group of Mobile Army Surgical Hospital officers as they perform surgery and pass the time just miles from the front lines of the Korean conflict. Led by sardonic captains "Hawkeye" Pierce (Donald Sutherland) and "Trapper" John McIntyre (Elliott Gould), the film has the feel of an absurd three-ring circus. Other characters include the uptight nurse "Hot Lips" O'Houlihan (Sally Kellerman), the confused Major Frank Burns (Robert Duvall), the troubled Captain "Painless" Waldowski (John Shuck), and the simpleminded Captain "Duke" Forrest (Tom Skerritt). Altman's decision to present his film as a series of loosely connected vignettes rather than a traditionally unfolding narrative perfectly captures the freewheeling spirit so unique to early-'70s cinema. [More]
Starring: Elliott Gould, Donald Sutherland, Sally Kellerman, Tom Skerritt
Starring: Elliott Gould, Donald Sutherland, Sally Kellerman, Tom Skerritt, Robert Duvall, Jo Ann Pflug, Rene Auberjonois, Roger Bowen
Director: Robert Altman
Director: Robert Altman
Screenwriter: Ring Lardner
Producer: Ingo Preminger
Composer: Johnny Mandel
Reviews for M*A*S*H
Clever camera setups, Altman's patented overlapping dialogue, wonderful sight gags and situations, and universally fine ensemble performances combine to make this one the most enjoyable war-themed films ever.
Remains as sharp and fresh and relevant as it was on the day of its initial release.
A battle against the idea that 'a war movie' had to be a serious affair.
Impudent and bold, M.A.S.H., Altman's most commercial film, satirizes the glorification of war, military bureaucracy, social hypocrisy, repressed sexuality and other norms than have lost their validity.
A good dint lower than its reputation, more so if you look at it not as one of the seminal 1970s films but instead as the first chapter from the finest filmmaking career spent examining the American mystique.
Altman chronicles the sardonic wasteland with a camera that's always in the wrong place at the right time
Ahead of its time and still one of the most effectively subversive comedies ever to emerge from a major studio
Ahead of its time and still one of the most effectively subversive comedies ever to emerge from a major studio.
Robert Altman's Korea-as-Vietnam 'comedy' demonstrates the best -- and worst -- of '70s cinema.
Robert Altman's biggest success to date is also one of his least interesting films.
Before ... the next war, both sides need to hire Altman as the director. He knows the territory, works with ensemble casts better than anyone, and provides plenty of laughs.
If you’re among the TV show’s multitude of fans but don’t know much about its progenitor, you may be surprised at how much edgier and daring the dark movie comedy is.
This is still watchable for the verve of the ensemble acting and dovetailing direction, but some of the crassness leaves a sour aftertaste.
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