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M*A*S*H (1970)
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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
Remains as sharp and fresh and relevant as it was on the day of its initial release.
Altman's black comedy perfectly expressed the anarchic, rebellious spirit of the 1970s with its blistering anti-war message and contempt for authority.
This is still watchable for the verve of the ensemble acting and dovetailing direction, but some of the crassness leaves a sour aftertaste.
Altman chronicles the sardonic wasteland with a camera that's always in the wrong place at the right time
I can only be grateful to whomever was the brilliant producer who saw the potential for one of the best-loved series within this mess of dullness and mean-spirited randomness.
Robert Altman's biggest success to date is also one of his least interesting films.
If its bite and sass have diminished for today's new audiences ... consider that a testimony to the attitude, style, and technique it pioneered and infused into American popular movies.
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.
One of Altman's bona-fide masterpieces. Even better than the subsequent TV show. (Easily.)
Weird feelings watching this flick. It's like funny, but after ten years of watching Alan Alda's TV series... it's kind of negated the impact.
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.
Altman boiled away the muddled meat of literary pretension intended to smokescreen the essence of war: blood on the one side and semen on the other.
A battle against the idea that 'a war movie' had to be a serious affair.
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