The film inspired the television series M*A*S*H, 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 movie.[5]
Plot
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 Army Jeep. 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 officer Henry Blake, his hyper-competent chief clerk Radar O'Reilly, dentist Walter "Painless Pole" Waldowski, the pompous and incompetent surgeon Frank Burns, and the contemplative Chaplain Father 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 surgeon Trapper 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 is Margaret 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 of impotence 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 evoke Leonardo 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, they blackmail him into keeping his mouth shut.
Following their return to camp, Blake and General Hammond organize a football 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 specific neurosurgeon— Dr. Oliver Harmon "Spearchucker" Jones, a former professional football player for the San Francisco 49ers— transferred to the 4077th as a ringer. 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, by Ring Lardner Jr., is different from Hooker's original novel. In the DVD audio 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 that M*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 that Andy 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 as M*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 the Production Code, in effect until November 1, 1968, when the Motion 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]
Filming and production
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 and Tora! 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. During principal 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 – including The Long Goodbye, California Split, Nashville, and The 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 the Vietnam War – Fox was concerned that audiences would not understand that it was ostensibly taking place during the Korean 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, American astronauts 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 are putting 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 be The Glory Brigade, a 1953 Korean War film starring Victor Mature.
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 vocalists John Bahler, Tom Bahler, Ron Hicklin, and Ian 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.
M*A*S*H received its first home video release in 1977 on both VHS and Betamax. This 1977 release of the film was the original, unedited version and was one of the first 50 titles released to home video by Magnetic Video Corporation (M*A*S*H was number #38).
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 on Blu-ray on September 1, 2009.[21]
M*A*S*H was a box-office hit; it was the third highest-grossing film released in 1970 (behind Love Story and Airport).[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 to 20th 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 $81.6million[26] against a budget of $3million.[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 the M*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 a PG 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 word fuck during the football game. According to film critic and historian Leonard Maltin, the film's main theme song, "Suicide is Painless", was replaced with music by Ahmad Jamal.[29] The re-release earned an estimated $3.5million at the box office.[19]
Critical response
M*A*S*H received critical acclaim from critics. The film holds an 84% approval rating on Rotten 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 on Metacritic, based on 8 critics, indicating "generally favorable reviews".[31]
In a rave review, John Mahoney of The Hollywood Reporter called the film "the finest American comedy since Some Like It Hot", and "the Mister 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 critic Pauline 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]
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" is Sgt. 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 of The New York Times wrote of M*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 the Chicago 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 the misogyny 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 in The 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 as Animal House, Porky's, and Revenge of the Nerds.[39]
The Japanese filmmaker Akira Kurosawa cited this movie as one of his 100 favorite films.[40]
William Wayne McMillan Rogers III was an American actor, known for playing the role of Captain "Trapper" John McIntyre in the CBS television series M*A*S*H and as Dr. Charley Michaels on House Calls (1979–1982).
M*A*S*H is an American war comedy drama television series that aired on CBS from September 17, 1972, to February 28, 1983. It was developed by Larry Gelbart as the first original spin-off series adapted from the 1970 feature film M*A*S*H, which, in turn, was based on Richard Hooker's 1968 novel MASH: A Novel About Three Army Doctors. The series, produced by 20th Century Fox Television for CBS, follows a team of doctors and support staff stationed at the "4077th Mobile Army Surgical Hospital" in Uijeongbu, South Korea, during the Korean War (1950–53).
Elliott Gould is an American actor.
"Suicide Is Painless" is a song written by Johnny Mandel (music) and Michael Altman (lyrics) for the 1970 film M*A*S*H. In addition to being performed by characters in the film, it plays during the title sequence as sung by The Ron Hicklin Singers. An instrumental version was used as the theme music for the TV series based on the film, playing over the opening and closing credits.
Trapper John, M.D. is an American medical drama television series and spin-off of the film M*A*S*H (1970). Pernell Roberts portrayed the title character, a lovable surgeon who became a mentor and father figure in San Francisco, California. The show ran on CBS for seven seasons, from September 23, 1979, to September 4, 1986. Roberts played the character more than twice as long as had Wayne Rogers (1972–75) on the TV series M*A*S*H. The role of Trapper John was played by Elliott Gould in the film.
M*A*S*H is an American media franchise consisting of a series of novels, a film, several television series, plays, and other properties, and based on the semi-autobiographical fiction of Richard Hooker.
W*A*L*T*E*R is a 1984 American unsold television pilot for the third spin-off of M*A*S*H. It starred Gary Burghoff, who reprised his M*A*S*H character.
Conrad John Schuck Jr. is an American film, stage, and television actor. He is best known for his role as Sergeant Charles Enright in the 1970s crime drama McMillan & Wife. He also played Herman Munster in the late-1980s – early 1990s sitcom The Munsters Today, playing the role originated by Fred Gwynne in the 1960s sitcom The Munsters.
"Chief Surgeon Who?" is the fourth episode of the television series M*A*S*H.
"Goodbye, Farewell and Amen" is a television film that served as the series finale of the American television series M*A*S*H. The 2½-hour episode first aired on CBS on February 28, 1983, ending the series' original run. The episode was written by eight collaborators, including series star Alan Alda, who also directed. As of 2024, it remains the most-watched single episode of any television series in U.S. history, and for twenty-seven years was the most-watched single broadcast in television history.
"Sometimes You Hear the Bullet" is the 17th episode of the first season of the TV series M*A*S*H, originally airing on January 28, 1973. This is the first episode in which the medical staff failed to save a wounded soldier, and one of the first episodes of the series showing a member of the hospital staff truly affected by death.
"Major Fred C. Dobbs" is the 22nd episode of the first season of the TV series M*A*S*H. It originally aired on March 11, 1973.
MASH: A Novel About Three Army Doctors is a 1968 novel written by Richard Hooker with the assistance of writer W.C. Heinz. It is notable as the foundation of the M*A*S*H franchise, which includes a 1970 feature film and a long-running TV series (1972–1983). The novel is about a fictional U.S. Mobile Army Surgical Hospital in South Korea during the Korean War.
"Abyssinia, Henry" is the 72nd episode of the M*A*S*H television series and the final episode of the series' third season. It was written by Everett Greenbaum and Jim Fritzell, and it first aired on March 18, 1975. The episode is notable for its shocking ending, in which the unit's amiable commanding officer Lieutenant Colonel Henry Blake receives an honorable discharge and leaves for home but, in the final scene, is reported killed by enemy fire. This ending prompted more than 1,000 letters to series producers Gene Reynolds and Larry Gelbart, and drew fire from both CBS and 20th Century Fox.
"Divided We Stand" was the 25th episode of the M*A*S*H television series, and the premiere entry for season 2.
"Carry On, Hawkeye" was the 35th episode of the M*A*S*H television series, and eleventh of season two. The episode aired on November 24, 1973.
"The Incubator" was the 36th episode of the M*A*S*H television series, and the twelfth episode of season two. The episode aired on December 1, 1973.
"As Time Goes By" is the 255th episode of M*A*S*H, as well as the last episode filmed. The episode aired on February 21, 1983 on CBS. As it was the final episode filmed they took a moment to pay tribute to the characters who had left the series before its conclusion. It also introduces the character of Soon-Lee, who would play a vital role in the series' final episode and the short-lived spin-off AfterMASH.
↑ MASH (1970), archived from the original on March 7, 2017, retrieved January 14, 2019
1 2 3 4 Altman, Robert M*A*S*H Collector's Edition (Twentieth Century Fox Home Entertainment), "Director's Commentary" track. ASIN No. B000BZISTE. Released February 7, 2006.
↑ Solomon, Aubrey. Twentieth Century Fox: A Corporate and Financial History (The Scarecrow Filmmakers Series). Lanham, Maryland: Scarecrow Press, 1989. ISBN978-0-8108-4244-1. p. 256.
Eagan, Daniel (2010) America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry, Bloomsbury Academic. pp.659–660. ISBN0826429777
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