| M*A*S*H | |
|---|---|
.jpg) Theatrical release poster | |
| Directed by | Robert Altman |
| Screenplay by | Ring Lardner Jr. |
| Based on | MASH: A Novel About Three Army Doctors 1968 novel byRichard Hooker |
| Produced by | Ingo Preminger |
| Starring | |
| Cinematography | Harold E. Stine |
| Edited by | Danford B. Greene |
| Music by | Johnny Mandel |
Production companies |
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| Distributed by | 20th Century-Fox |
Release date |
|
Running time | 116 minutes |
| Country | United States |
| Language | English |
| Budget | $3 million |
| Box office | $81.6 million |
M*A*S*H is a 1970 Americanblack comedywar film directed byRobert Altman and written byRing Lardner Jr., based onRichard Hooker's 1968 novelMASH: A Novel About Three Army Doctors. The film is the only theatrically released feature film in theM*A*S*H franchise.
The film depicts a unit of medical personnel stationed at aMobile Army Surgical Hospital (MASH) during theKorean War. It starsDonald Sutherland,Tom Skerritt, andElliott Gould, withSally Kellerman,Robert Duvall,René Auberjonois,Gary Burghoff,Roger Bowen,Michael Murphy, and in his film debut, professional football playerFred Williamson. Although the Korean War is the film's storyline setting, thesubtext is theVietnam War — a current event at the time the film was made.[1]Doonesbury creatorGarry Trudeau, who saw the film in college, saidM*A*S*H was "perfect for the times, the cacophony of American culture was brilliantly reproduced onscreen".[2]
M*A*S*H became one of the biggest films of the early 1970s for20th Century-Fox and is now considered one of thegreatest films ever made. It won the Grand Prix du Festival International du Film, later named thePalme d'Or, at the1970 Cannes Film Festival, received fiveAcademy Award nominations, includingBest Picture, and won forBest Adapted Screenplay. In 1996,M*A*S*H was included in the annual selection of 25 motion pictures added to theNational Film Registry of theLibrary of Congress being deemed "culturally, historically, or aesthetically significant" and recommended for preservation.[3] TheAcademy Film Archive preservedM*A*S*H in 2000.[4]
The film inspired the television seriesof the same name, which ran from 1972 to 1983.Gary Burghoff, who played Radar O'Reilly, was the only actor playing a major character who appeared in both the film and the television series. Altman despised the TV series, calling it "the antithesis of what we were trying to do" with the film.[5]
In 1951, the 4077th Mobile Army Surgical Hospital in South Korea is assigned two new surgeons,"Hawkeye" Pierce and"Duke" Forrest, who arrive in a stolen ArmyJeep. They are insubordinate, womanizing, mischievous rule-breakers, but they soon prove to be excellent combat surgeons. Other characters already stationed at the camp include the bungling commanding officerHenry Blake, his hyper-competent chief clerkRadar O'Reilly, dentist Walter "Painless Pole" Waldowski, the pompous and incompetent surgeonFrank Burns, and the contemplative ChaplainFather Mulcahy.
The main characters in the camp divide into two factions. Irritated by Frank's religious fervor, Hawkeye and Duke get Blake to move him to another tent so newly arrived chest surgeonTrapper John McIntyre can move in. The three doctors (the "Swampmen", after the nickname for their tent) have little respect for military protocol, having been drafted into the Army, and are prone to pranks, womanizing, and heavy drinking. Frank is a straitlaced military officer who wants everything done efficiently and by the book, as isMargaret Houlihan, who has been assigned to the 4077th as head nurse. The two bond over their respect for regulations and begin a love affair. With help from Radar, the Swampmen sneak a microphone into a tent where the couple are engaging in sex and broadcast their encounter over the camp's public address system, embarrassing them badly and earning Houlihan the nickname "Hot Lips". The next morning, Hawkeye goads Frank into assaulting him, resulting in the latter's removal from the camp for psychiatric evaluation. Later, when Houlihan is showering, the Swampmen pull the tent sides off and expose her, in order to settle a bet over whether she is a natural blonde. Crying, furious, and embarrassed, Houlihan screams at Blake for letting his staff run wild and failing to discipline them and threatens to resign her commission; Blake bluntly tells her she can do so, which unsettles her enough to calm her down.
Painless, described as "the best-equipped dentist in the Army" and "the dental Don Juan of Detroit," becomes depressed over an incident ofimpotence and announces his intent to commit suicide, believing that he has turned homosexual. The Swampmen agree to help him carry out the deed, staging a feast to evokeLeonardo da Vinci's Last Supper, arranging for Father Mulcahy to give Painless absolution and communion, and providing him with a "black capsule" (actually a sleeping pill) to speed him on his way. Hawkeye persuades the gorgeous Lieutenant "Dish" Schneider — who has remained faithful to her husband and is being transferred back to the United States for discharge — to spend the night with Painless and allay his concern about his "latent homosexuality". The next morning, Painless is his usual cheerful self, and a smiling Dish leaves camp in a helicopter to start her journey home.
Hawkeye and Trapper are sent to Japan on temporary duty to operate on a Congressman's son and, hopefully, play some golf. When they later perform an unauthorized operation on a local infant, they face disciplinary action from the hospital commander for misusing Army resources. Trapper uses anesthetic gas to sedate the commander. Using staged photographs of him as he awakens in bed with a prostitute, theyblackmail him into keeping his mouth shut.
Following their return to camp, Blake and General Hammond organize afootball game between the 4077th and the 325th Evac Hospital and wager several thousand dollars on its outcome. At Hawkeye's suggestion, Blake applies to have a specificneurosurgeon —Dr. Oliver Harmon "Spearchucker" Jones, a former professional football player for theSan Francisco 49ers — transferred to the 4077th as aringer. Hawkeye also suggests that Blake bet half his money up front and keep Jones out of the first half of the game. The 325th scores repeatedly and easily, even after the 4077th drugs one of their star players to incapacitate him. Hammond confidently offers high odds, against which Blake bets the rest of his money. Jones enters the second half, which quickly devolves into a free-for-all, and the 4077th gets the 325th's second ringer thrown out of the game and wins with a final trick play.
Not long after the football game, Hawkeye and Duke get their discharge orders and begin their journey home — taking the same stolen Jeep in which they arrived.[6]
The screenplay, byRing Lardner Jr., is different from Hooker's original novel. In the DVDaudio commentary, Altman describes the novel as "pretty terrible" and somewhat "racist" (the only major black character has the nickname "Spearchucker"; however, he's a highly-trained neurosurgeon, and in the book, treated as an equal to the main white characters). He claims that the screenplay was used only as a springboard.[7] Despite this assertion by Altman, however, while some improvisation occurs in the film and Altman changed the order of major sequence, most sequences are in the novel. The main deletion is a subplot of Ho-Jon's return to the 4077th as a casualty (when Radar steals blood from Henry, it is for Ho-Jon's operation under Trapper and Hawkeye's scalpels; when the surgeons are playing poker after the football game, they are resolutely ignoring Ho-Jon's corpse being driven away). The main deviation from the script is the trimming of much of the dialogue.
In his director's commentary, Altman says thatM*A*S*H was the first major studio film to use the word "fuck" in its dialogue.[7][a] The word is spoken during the football game near the end of the film by Walt "Painless Pole" Waldowski when he says to an opposing football player, "All right, Bud, your fucking head is coming right off!" The actor,John Schuck, said in an interview thatAndy Sidaris, who was handling the football sequences, encouraged Schuck to "say something that'll annoy him." Schuck did so, and that particular statement made it into the film without a second thought.[13] Previously confined to cult and "underground" films, its use in a film as conventionally screened and professionally distributed asM*A*S*H marked the dawn of a new era of social acceptability for profanity on the big screen, which had until a short time before this film's release been forbidden outright for any major studio picture in the United States under theProduction Code, in effect until November 1, 1968, when theMotion Picture Association film rating system replaced it.M*A*S*H was rated R in the United States by this system.
Although a number of sources have reported that Lardner was upset with the liberties taken with his script,[5][14] he denied it in his autobiography: "[...] But the departures weren't as drastic as he [Altman] made out; much of the improvisation involved a couple of scenes between Donald Sutherland and Elliott Gould in which they rephrased lines in their own words. [...] For all of Bob's interpolations and improvisations, however, the basic structure of the movie is the one laid out in my script, and each scene has the beginning, middle, end that I gave it."[15]
Altman, relatively new to the filmmaking establishment at that time, lacked the credentials to justify his unorthodox filmmaking process and had a history of turning down work rather than creating a poor-quality product.[16] Altman: "I had practice working for people who don't care about quality, and I learned how to sneak it in."[16] "Twentieth Century-Fox had two other war movies in production,Patton andTora! Tora! Tora!" Altman remembered. "Those were big-budget pictures, and we were cheap. I knew that if I stayed under budget and didn't cause too much trouble, we could sneak through."[2]
The filming process was difficult because of tensions between the director and his cast. Duringprincipal photography, Sutherland and Gould allegedly spent a third of their time trying to get Altman fired,[16] although this has been disputed.[14] Altman later commented that if he had known about Gould and Sutherland's protests, he would have resigned.[7] Gould later sent a letter of apology, and Altman used him in a number of his later works – includingThe Long Goodbye,California Split,Nashville, andThe Player – but Altman never worked with Sutherland again.
Because of the context of the film being made – during the height of America's involvement in theVietnam War – Fox was concerned that audiences would not understand that it was ostensibly taking place during theKorean War. Fox requested a caption that mentions the Korean setting be added to the beginning of the film,[7] and PA announcements throughout the film served the same purpose.[16] Only a few loudspeaker announcements were used in the original cut. When Altman realized he needed more structure to his largely episodic film, editor Danford Greene suggested using more loudspeaker announcements to frame different episodes of the story. Greene took a second-unit crew and filmed additional shots of the speakers. On the same night these scenes were shot, Americanastronauts landed on the moon.[17] The Korean War is explicitly referenced in announcements on the camp public address system[16] and during a radio announcement that plays while Hawkeye and Trapper areputting in Col. Merrill's office, which also cites the film as taking place in 1951.[citation needed] However, one of the PA announcements mentions that the camp movie will beThe Glory Brigade, a 1953 Korean War film starringVictor Mature.
Johnny Mandel composed incidental music used throughout the film. Also heard on the soundtrack are Japanese vocal renditions of such songs as "Tokyo Shoe Shine Boy", "My Blue Heaven", "Happy Days Are Here Again", "Chattanooga Choo Choo", and "Hi-Lili, Hi-Lo"; impromptu performances of "Onward, Christian Soldiers", "When the Lights Go On Again", and "Hail to the Chief" by cast members; and the instrumental "Washington Post March" during the climactic football game.
M*A*S*H features the song "Suicide Is Painless",[18] with music by Mandel and lyrics by Mike Altman, the director's then 14-year-old son. The version heard under the opening credits was sung by uncredited session vocalistsJohn Bahler,Tom Bahler,Ron Hicklin, andIan Freebairn-Smith; on the single release, the song is attributed to "The Mash". The song is reprised later in the film by Pvt. Seidman (played by Ken Prymus) in the scene in which Painless attempts to commit suicide.
Columbia Masterworks issued a soundtrack album of the film in 1970 (all songs byJohnny Mandel unless otherwise noted):
M*A*S*H received its first home video release in 1977 on bothVHS andBetamax. This 1977 release of the film was the original, unedited version and was one of the first 50 titles released to home video byMagnetic Video Corporation (M*A*S*H was number #38).
Ster-Kinekor Video andFox Video released the film with20th Century Fox, which was released in 1992 in South Africa.
In the 1990s, Fox Video re-released a VHS version of the film as part of its "Selections" banner, which ran 116 minutes and was rated PG. However, this is not the alternate PG version that was released in 1973. It has the same run-time as the theatrical release; none of the aforementioned scenes or theme music was removed. The actual 1973 PG-edited version has never been issued on home video in the United States.[19] The original cut was released on DVD on January 8, 2002,[20] and onBlu-ray on September 1, 2009.[21]
In 2010, the film was released on a triple movie DVD pack withThe Full Monty andMy Cousin Vinny.[22]
M*A*S*H was a box-office hit; it was the third highest-grossing film released in1970 (behindLove Story andAirport).[23] The film opened January 25, 1970, at the Baronet Theatre in New York City and grossed $37,143 in its first week.[24] According to20th Century-Fox records, the film required $6,550,000 in rentals to break even, and by December 11, 1970, had made $31,225,000, thus making a profit for the studio.[25] Ultimately, the film made $81.6 million[26] against a budget of $3 million.[27]
It was the sixth most popular film at the French box office in 1970.[28]
Fox re-released the film to theaters in North America in late 1973. To attract audiences to theM*A*S*H television series, which had struggled in the ratings in its first season, Fox reissued the film in a version running 112 minutes and bearing aPG rating. Some of the more explicit content from the original R-rated cut was edited out, including segments of graphic surgical operations, Hot Lips' shower scene, and the use of the wordfuck during the football game. According to film critic and historianLeonard Maltin, the film's main theme song, "Suicide is Painless", was replaced with music byAhmad Jamal.[29] The re-release earned an estimated $3.5 million at the box office.[19]
M*A*S*H received critical acclaim from critics. The film holds an 84% approval rating onRotten Tomatoes, based on 56 reviews, with an average rating of 8.30/10. The website's consensus states, "Bold, timely, subversive, and above all, funny,M*A*S*H remains a high point in Robert Altman's distinguished filmography."[30] The film also holds a score of 80 out of 100 onMetacritic, based on 8 critics, indicating "generally favorable reviews".[31]
In a rave review, John Mahoney ofThe Hollywood Reporter called the film "the finest American comedy sinceSome Like It Hot", and "theMister Roberts of the Korean War", as well as "The Graduate of 1970".[32]Time magazine, in a review titled "Catch-22 Caliber", wrote of the film, "though it wears a dozen manic, libidinous masks, none quite covers the face of dread ...M.A.S.H., one of America's funniest bloody films, is also one of its bloodiest funny films."[33]The New Yorker criticPauline Kael wrote of the film, "I don't know when I’ve had such a good time at a movie. Many of the best recent American movies leave you feeling that there's nothing to do but get stoned and die, that that's your proper fate as an American. This movie heals a breach."[34]John Simon described M*A*S*H as an 'amusingly absurdist army satire'.[35]
Roger Ebert, in theChicago Sun-Times, gave the film four (out of four) stars, writing
There is something about war that inspires practical jokes and the heroes ... are inspired and utterly heartless ... We laugh, not because "M*A*S*H" isSgt. Bilko for adults, but because it is so true to the unadmitted sadist in all of us. There is perhaps nothing so exquisite as achieving ... sweet mental revenge against someone we hate with particular dedication. And it is the flat-out, poker-faced hatred in "M*A*S*H" that makes it work. Most comedies want us to laugh at things that aren't really funny; in this one we laugh precisely because they're not funny. We laugh, that we may not cry ... We can take the unusually high gore-level in "M*A*S*H" because it is originally part of the movie's logic. If the surgeons didn't have to face the daily list of maimed and mutilated bodies, none of the rest of their lives would make any sense ... But none of this philosophy comes close to the insane logic of "M*A*S*H," which is achieved through a peculiar marriage of cinematography, acting, directing, and writing. The movie depends upon timing and tone to be funny ... One of the reasons "M*A*S*H" is so funny is that it's so desperate.[36]
In contrast,Roger Greenspun ofThe New York Times wrote ofM*A*S*H, "To my knowledge [it] is the first major American movie openly to ridicule belief in God – not phony belief; real belief. It is also one of the few (though by no means the first) American screen comedies openly to admit the cruelty of its humor. And it is at pains to blend that humor with more operating room gore than I have ever seen in any movie from any place ... Although it is impudent, bold, and often very funny, it lacks the sense of order (even in the midst of disorder) that seems the special province of successful comedy."[37]
In a retrospective review for theChicago Reader,Jonathan Rosenbaum noted that "the film ... helped launch the careers of Elliott Gould, Donald Sutherland, Sally Kellerman, Robert Duvall, and subsequent Altman regulars Rene Auberjonois and John Schuck, and won screenwriter Ring Lardner Jr. an Oscar." Rosenbaum characterized the film as "a somewhat adolescent if stylish antiauthoritarian romp ... But themisogyny and cruelty behind many of the gags are as striking as the black comedy and the original use of overlapping dialogue. This is still watchable for the verve of the ensemble acting and dovetailing direction, but some of the crassness leaves a sour aftertaste."[38] Writing inThe Guardian for the film's 50th anniversary, Noah Gittell also criticized it for having "a deep and unexamined misogyny", noting that the treatment of the Houlihan character in particular anticipated such later teen sex comedies asAnimal House,Porky's, andRevenge of the Nerds.[39]
The Japanese filmmakerAkira Kurosawa cited this movie as one of his 100 favorite films.[40]
In 1996,M*A*S*H was deemed "culturally significant" by theLibrary of Congress and was selected for preservation in the United StatesNational Film Registry.
The film is number 17 onBravo's "100 Funniest Movies" and number 54 on"AFI" list of the top 100 American movies of all time.
Informational notes
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