M*A*S*H
(1970)
Starring
Elliott Gould, Donald Sutherland, Robert Duvall and Sally
Kellerman
Director
Robert Altman
Awards
Academy Awards
Best Adapted Screenplay - Ring
Lardner, Jr.
Academy Awards Nominations
Best Actress - Sally Kellerman
Best Director- Robert Altman
Best Picture
Plot Synopsis
M*A*S*H imitates the episodic structure of the book upon
which it is based, detailing the pranks that the unit's personnel engage in between the
frequent outbreaks of intense surgical activity. Upon arriving in Korea, newly drafted
Army doctors Benjamin Franklin "Hawkeye" Pierce and Nathan Bedford
"Duke" Forrest are sent to M*A*S*H 4077, a Mobile Army Surgical Hospital near
the front. They are soon joined by another draftee, Dr. Trapper John McIntyre, and the
three attempt to maintain their sanity in the face of so much blood and lunacy by showing
up the regular army, forming a football team, and staging an elaborate mock suicide.
Film Notes
"It's set during the Korean War, in a mobile army surgical
hospital. But no one seeing M*A*S*H in 1970 confused the film for anything but a
caustic comment on the Vietnam War; this is one of the counterculture movies that exploded
into the mainstream at the end of the '60s. Director Robert Altman had labored for years
in television and sporadic feature work when this smash-hit comedy made his name (and
allowed him to create an astonishing string of offbeat pictures, culminating in the
masterpiece Nashville). Altman's style of cruel humor, overlapping dialogue, and
densely textured visuals brought the material to life in an all-new kind of war movie (or,
more precisely, antiwar movie). Audiences had never seen anything like it: vaudeville
routines played against spurting blood, fueled with open ridicule of authority. The cast
is led by Elliott Gould and Donald Sutherland, as the outrageous surgeons Hawkeye Pierce
and Trapper John McIntyre, with Robert Duvall as the uptight Major Burns and Sally
Kellerman in an Oscar-nominated role as nurse "Hot Lips" Houlihan. The film's
huge success spawned the long-running TV series, a considerably softer take on the
material; of the film's cast, only Gary Burghoff repeated his role on the small screen, as
the slightly clairvoyant Radar O'Reilly." (Robert Horton, Amazon.com)
Film was based on a series of novels by the pseudonymous
"Dr. Richard Hooker," a real doctor whose tour of duty in Korea served as the
basis for the books. Television spin-off was a critical and commercial success for 11
seasons on CBS while becoming a favorite in syndication. The series was even farther
removed from the original source material than the movie was. Although initially something
of a black comedy and an ensemble piece similar to the film, M*A*S*H would
eventually become a gentler, more socially conscious and humanistic show revolving around
lead Alan Alda, who played Hawkeye Pierce while performing directing and writing duties as
well. Wayne Rogers played Trapper John for three seasons before leaving due to
difficulties in contract negotiations and his general unhappiness with the direction of
the show. Rogers had initially agreed to the series with the understanding that he would
co-star with Alda and felt that he had essentially become no more than Alda's sidekick.
Gary Burghoff reprised his role as Radar O'Reilly, the only actor from the movie to do so.
Other characters taken from the film were Lt. Col. Henry Blake (played by McLean
Stevenson), Maj. Margaret Houlihan (Loretta Swit), Maj. Frank Burns (Larry Linville), and
Father John Mulcahy (William Christopher. The series final episode "Goodbye,
Farewell, and Amen," in which Hawkeye finally had a nervous breakdown and the Korean
War ended, was seen by the largest audience ever for a single television program. Just as
Hooker's novel produced several stateside sequels, M*A*S*H produced the sequel After
M*A*S*H, starring several of the series' regulars for a cople of uneventful seasons.
Episodes of M*A*S*H, including the finale, are available on videocassette. Dr.
David Sachs served as the film's medical advisor. Color by DeLuxe; shot in a widescreen
process. Released in USA February 1970. Reviewed in the Monthly Film Bulletin July 1970.
Originally rated R by the MPAA, with a running time of 116 minutes; re-released in 1973
with an MPAA PG rating (running time: 112 minutes), and new title music by Ahmad
Jamal.