Rating: 
Summary: "The game of life is hard to play, I'm gonna lose it anyway"
Review: Probably no cinematic comedy produced by Hollywood in the last half of the twentieth century is as irreverent, disdainful of authority, critical of war and its effects, and, incidentally, as funny as "M*A*S*H", that 1970 comedic masterpiece starring Donald Sutherland, Elliott Gould, Tom Skerritt, Gary Burghoff, and Sally Kellerman; written by Ring Lardner, Jr.; and directed by Robert Altman, in his directorial debut. "M*A*S*H" is actually a very difficult film to review for a variety of reasons. First and foremost, it's darned near impossible to provide an adequate synopsis for readers who've never seen the movie. Because, unlike most modern films that contain a linear story line, an easy-to-follow plot, and well developed characters that one can either root for or vilify with ease, "M*A*S*H" is a film that can only be described as a series of loosely joined comic vignettes, featuring a set of very true-to-life characters that are all BOTH very likeable and flawed. "M*A*S*H" is one of the best comedies ever made, and for good reason. It is genuinely funny. It is artistically produced; it contains great writing and acting; and it proclaims an important social message to viewers. Having said all that, "M*A*S*H" is very likely NOT a movie that will appeal to everyone's tastes - even now, 32 years after it was first released. How the movie was written and produced has a lot to do with that fact. As the story goes, the idea for producing a movie version "M*A*S*H" got its start when literary agent Ingo Preminger referred Dr. Richard Hooker's famous novel of the same name to 20th Century Fox executive Richard Zanuck. Zanuck enthusiastically supported the idea, hired Preminger as the movie's producer, and set out to find a screen writer and director. Ring Lardner Jr. (son of the famous 1930s sports writer) was brought in to write the script. Robert Altman was hired to direct. (As Altman tells it, he was about the "13th choice" of the studio to direct.) Shooting began during the summer of 1969. At the same time, the films "Patton" and "Tora! Tora! Tora!" were in production. Altman, eager to be successful in his first major film, decided to "hide out" on a back lot of the studio, where he would escape the watchful eyes of studio executives. As a result, Altman was able to apply many innovative techniques to the film. He wanted his actors to improvise as much as possible in each scene. He wired each actor with an individual microphone and encouraged them to talk over one another. He incorporated several bloody operating room scenes in the film. He tried to mask the fact that the film was supposed to be set during the Korean War. He wanted audiences to assume that this was a film about Vietnam, and he wanted them to understand his clear message about the monstrosity of war. (By the way, Altman's technique enraged Lardner, who thought Altman had basically thrown away the script. Lardner came perilously close to disassociating himself from the project, but in the end, accepted both the sole writing credit for the film... and the Oscar for Best Screenplay at the 1971 Academy Awards.). Because of Altman's innovative (some say crazy) filmmaking techniques, "M*A*S*H" succeeds as a brilliant film that achieves almost all of Altman's goals. The film is deeply imbued with a lifelike realism that allows viewers to "feel" what it was like in the fictional 4077th MASH. The actors speak like one would expect them to when confronted with the reality of war and the boredom of inactivity. Comedy scenes are uniformly uproariously funny, employing jokes and gags that range from subtle to coarse to borderline lewd. Interspersed with the comedy scenes are operating room sequences that are bloody to the point of horrific, but that bring home with full force the full brutality of war... so much so that, for a short time, the Defense Department banned the "M*A*S*H" from being shown in military theaters worldwide. I've read some reviews of "M*A*S*H" in which a criticism is leveled that the movie's characters are not well developed. I disagree with this judgment. I found I was readily able to identify with all the characters, whether they were likeable or not. Hawkeye, Duke, Trapper, Frank, Hot Lips, Henry, Radar, and all the others were completely believable, and fleshed out in detail... no small feat since the actors who played these parts were directed to perform their roles in such a highly improvisational manner. "M*A*S*H" is one of those rare films that gives viewers everything they could ask for from a great film: wonderfully realistic acting; a great script; brilliantly funny comedy; superb drama, important social commentary; and artful, innovative filmmaking techniques. "M*A*S*H" has steadfastly stood the test of time for thirty years, never becoming outdated or irrelevant. Whether you've never seen it, or, like me, you've seen it many times: RUN, don't walk, to your nearest video store and check it out!
Rating:
Summary: The Original Mash
Review: Robert Altman's M*A*S*H may take place during the Korean War, but the film is all about Vietnam. Mr. Altman at the time had extreme left wing political views and used Korean as a stand in for the war that was raging on at the time in Vietnam. By fusing the free love attitude of the counterculture and the lack of regard for authority of most of the 4077th's surgeons into a humorous film, he made light of things to hammer home his point that war is madness and people will do anything to cope. M*A*S*H made stars of several young actors like Donald Sutherland and Elliot Gould who played the two irreverent leads, Hawkeye Pierce and Trapper John McIntyre respectively. Mr. Sutherland is the backbone of the film and his portrayal of the Hawkeye is superb. Mr. Gould is extremely funny and glib as Trapper John. Other standout performances include Tom Skerritt as Duke, Robert Duvall as the fanatical Frank Burns and Sally Kellerman as the uptight Hop Lips Houlihan. Mr. Altman wasn't well known at the time, but after the huge commercial and critical success of M*A*S*H, he became a major player and went on to make several hallmark films. The bonus material on M*A*S*H is first rate, especially the AMC Backstory feature which provides tremendous insight into the making of the film and is just as entertaining as the film itself.
Rating:
Summary: As fresh (and controversial) as it was in 1970
Review: This is one of the finest films ever made, 'countercultural' or otherwise. It's antiwar, antiauthoritarian, irreverent, sacrilegious, and utterly without anything conventionally regarded as a Redeeming Feature. It is, in short, a great, great piece of cinematic art. When it's over, not a sacred cow is left standing. And its antiwar satire, though full of wonderfully crass and tasteless comedy, is also quite serious and spot-on. If you haven't read the book by 'Richard Hooker' (Dr. Richard Hornsberger), do so. It's a good book, and it's very different from the TV series you're probably familiar with if you were alive during the 1970s. The original tale centered on three surgeons, not two, and it wasn't (as the TV series became) a vehicle for the smarmy phildonahuing of sensitive-'70s-guy Alan Alda. In fact the book and the movie are both 'racist' in the same sense as Mark Twain's timeless _Huckleberry Finn_ -- that is, not at all, but also not exactly designed to slip in under the radar of the PC Police, who wouldn't recognize _real_ racism if it bashed them in the heads with a billy club. (Likewise 'sexism'.) In developing the TV series, developer/scriptwriter Larry Gelbart toned a lot of this stuff down, but here in the film you can see it in all of its original glory. And then some. The film actually partakes more of the spirit of Joseph Heller's great _Catch-22_ and, along those lines, develops the Hooker novel's mild irreverence to the level of a take-no-prisoners martial art. (The film officially takes place during Hooker's Korean War, but just as with Heller's nominal World War II setting, everybody knew the Vietnam War was the unofficial target. And at an abstract level, _M*A*S*H_ is a better screen adaptation of _Catch-22_ than the film version of that novel itself.) Even other satire isn't immune from 'meta-satire'. This film was produced at a time when other countercultural books and movies regularly relied on Christian imagery (_Cool Hand Luke_, _One Flew Over the Cuckoo's Nest_, _The Omega Man_) to turn their central heroes/antiheroes into savior-figures. Here, Robert Altman and Ring Lardner, Jr., had the temerity to skewer even its artistic allies by turning the Painless Pole (John Schuck in his first major film role) into the central figure at a suicidal 'Last Supper'. (Even here, in thus expanding on Painless's suicide, they took a lead from the book's own irreverence. In the novel, the guys paraded around the South Korean countryside with a longhaired and bearded Trapper hanging from a cross.) _Nobody_ is safe around this cinematic buzz saw. You probably already know who's in it, but I'd better give a quick nod to the marvelous performances by the Big Three: Donald Sutherland as Hawkeye Pierce, Elliot Gould as 'Trapper' John McIntyre, and Tom Skerritt as Duke Forrest. (I particularly call your attention to Skerritt, who seldom gets the credit he deserves for this role because -- under the influence of the TV series -- people tend to think the movie is mainly about Hawkeye and Trapper.) Everybody else is wonderful too, and I won't try to mention the entire cast by name here. In general this rambling masterpiece isn't susceptible to easy summarization. So rather than try to tell you about all of the cool stuff, I'll just tell you to see it if you haven't done so already. The DVD release is wondrous to behold. The movie is restored to perfect color and clarity and presented in widescreen format. The second disk has lots of cool features including cast interviews and stuff about the making of the film (and its groundbreaking cinematographic 'techniques').
Rating:
Summary: M*A*S*H - intelligent satire in a benchmark DVD release
Review: M*A*S*H is one of the zaniest and most intelligent satires ever produced by Hollywood. This is a war movie in which only two shots are fired -- as signals in a football game. It is a masterpiece of wider appeal -- even to veterans -- than is suggested by its setting in Korean War military hospitals, or by its director's explicit aim of promoting liberal opposition to the Vietnam war during the '60s and '70s. The 2002 two-disk M*A*S*H special edition from 20th Century Fox Home Entertainment in many ways is a benchmark for DVD releases of cult movies. Picture and sound quality are high. The special feature content is entertaining and insightful. This content includes extensive retrospective comment by director Robert Altman, producer Ingo Preminger, former studio boss Richard Zanuck, scriptwriter Ring Lardner Jr, actors including Donald Sutherland, Elliott Gould, Sally Kellerman, Tom Skerritt, John Schuck and Gary Burghoff, and medical veterans of the Korean War. We see the 30th anniversary M*A*S*H reunion at Fox, and presentation of a studio life achievement award to Altman. The special content gives fascinating insights into the driving half-mad genius that so often makes a great director, and of egos and bigheartedness in movie making.
Almost everyone, from the scriptwriter to the studio executives and the actors, lined up against the director at some time. Donald Sutherland and Elliott Gould once even tried to get Altman fired, fearing that he would damage their careers. In the M*A*S*H special edition features they eat their words and graciously pay tribute to Altman. Former studio boss Richard Zanuck says that until Altman came along other directors were afraid of the screenplay or didn't like it. 'Altman came in, and seemed unruly enough to be able to understand this subject matter.' M*A*S*H was made on a shoestring budget with Fox's Century Ranch standing in for Korea. It emerged from chaotic creative tension as an enormous artistic and financial success. Altman accepted a salary of only $75,000. His son Mike is reputed to have made more money from writing the lyric to the keynote ballad, 'Suicide Is Painless', with Johnny Mandel. Altman kept costs down by casting the movie with mostly unknown and out-of-work actors. 14 of the movie's 30 speaking roles were played by actors making their screen debut. Shooting finished three days ahead of schedule in 1969, and almost half a million dollars under budget. M*A*S*H went on to earn more than $80 million at the box office, a Palme d'Or at Cannes and an Oscar (for the heavily reworked script of formerly blacklisted scriptwriter Ring Lardner Jr), and to inspire a long-running popular TV series. This is a rare thing: a five star classic movie in a five star DVD release.
Rating:
Summary: Suicide is Painless
Review: The Five-Star Collection is Fox Studios' top-of-the-line releases. Movies like French Connection have already made the list, and now Fox debuts the greatest anti-war movie of all time, M*A*S*H. The basis for the long-running TV series (which also debuted recently on DVD), M*A*S*H introduces us to the antics of Hawkeye Pierce (Donald Sutherland), Trapper John (Elliot Gould), Hot Lips (Sally Kellerman), and Radar (Gary Burghoff). Altman's black comic masterpiece doesn't have a solid plot so much as a series of skits and sketches about life during the war. From golfing 5 miles from the front to suspension of marital promises to trying to figure out why people are dying all around, M*A*S*H handles the gruesomeness of stupidity of war in the only way possible - if you're not laughing, then you're going to be crying, so it's probably better to laugh. And what a way to bring this classic to DVD - the movie has never looked so good. For being 30 years old, it looks great after Fox's extensive restoration and is presented in its original theatrical ratio of 2.35:1 with an anamorphic transfer. There's some grain here and there, but the colors are exceptionally vibrant, with great contrast on the blacks and whites especially. The sound mix is a decent DD 2.0, which is fine considering that the movie is mostly dialogue, but the lack of a more dynamic soundtrack was noticeable during the football game and any time there was music. There are enough extras to make up for it, though, including Altman's commentary track, three featurettes including A&E's "The Story of M*A*S*H" and a 30-year cast reunion that's both touching and funny. The lack of the DD 5.1 soundtrack doesn't sully the otherwise pristine quality of the rest of this 2-disc set. It's a must have - get it now. Now, trooper! Now!
Rating:
Summary: Suicide is painless
Review: Dear lord, I could not stop laughing during this movie, everyone from Hawkeye to Hotlips are back in a special edition five star collection restored set, the picture and sound are restored wonderfully, I watched this on VHS when I was 12 and I can appreciate DVD quality, the anti-war message is beautifully satirical, right from the opening theme to the heart warming ending, it is quite a trip
Rating:
Summary: GOTTA HAND IT TO ALTMAN, GRUDGINGLY
Review: At the same time, Robert Altman's "M*A"S*H" came out. It, too found an audience, and truth be told many who enjoyed "Patton" enjoyed "M*A*S*H". It was just plain funny, and the anti-military theme was subtle. Altman walked a brilliant tightrope between a pro-American and unpatriotic premise. There is no doubt that Altman intended it as an anti-Vietnam movie. It was written by former Communist Ring Lardner, Jr. Lardner had been Blacklisted, and this fact featured prominently in the politics of the film's aura. It was based on a sexy paperback novel about surgeons in Korea. The film was set in Korea, yet made every possible attempt to convey the image that it was actually Vietnam. Many of the movie's set pieces were deliberately Vietnamese in nature and costume, for that very purpose. To the extent that it was unpatriotic, it subtly described "regular Army" officers as unyielding, intolerant Christians, utterly blinded by stupid jingoism. The draftees, however, are funny and attractive as they drink and love their way through a bevy of good-looking nurses, all while saving lives in the style of comic Galahads. Altman showed genius as a filmmaker. The movie avoided real controversy because it was just so darn good.
"M*A*S*H" spurred a television show that ran for years. In the 1970s it played for its time and audience. Re-runs, however, strain its credibility beyond Altman's original themes. Two doctors played the "bad guy." The first was a complete buffoon. Frank Burns was prominently identified as a Republican. He is given zero good qualities. He is ugly, a bad doctor, a coward, a racist and all-around mean SOB who cheats on his wife with Major Margaret Hoolihan, who at least is given some character. She is half-Vixen, half-Fascist, naturally Republican, a patriotic American in the "worst way," who worships the idols of war. Over the years the writers gave Margaret a little development. Very little. Burns was replaced by Major Charles Emerson Winchester, a Boston Brahmin, naturally a Republican whose father "knows Truman. He doesn't like him, but he knows him." Winchester, like Hoolihan, is allowed a touch of humanity when the liberal writers felt charitable, but generally was available for all possible bashing. Two hero-doctors anchor the show by showing their intelligence, medical skills and tolerance as direct contrasts to the war effort. The CIA is lampooned, and a military effort that in reality featured MacArthur's Inchon campaign, perhaps the most brilliant invasion in history, is also played as foolish. In the end, the TV show and the film avoid being really and actually unpatriotic because they do feature an emphasis on the basic goodness of the American spirit under stress, but you will not catch me tuned in to those old re-runs(...)
Rating: 
Summary: Pretty Exciting
Review: When my dad was in the Marines back in 68 this was the movie every one loved and it is a good movie.yes it is no where as good to being the TV show but that was unstopable but this one was pure insanity just like the 1st season of MASH plus you get the Football and the shower scene it is pretty exciting.
Story 6 Acting 7 Directing 9 Action 10 Entertainment 10
Overall=36/50 wich gets a nice 3.5 stars rate 4 on this.
Rating:
Summary: A Five Star Movie!!! A Classic!!!
Review: This DVD is the ultimate version of this classic 1970 Robert Altman film!!! Disc one contains the WIDESCREEN version of the film with a second disc devoted to extras!!! A great package!!! AWESOME!!! Two thumbs up!!! A+
Rating:
Summary: Did this movie have a plot at all?
Review: I watched this movie a few days ago, and I was blown away by it. It is probably the most unconventional film I've ever seen in my life. The movie is pretty much surgeons playing pratical jokes during the Korean War. That's it. And yet, it's more complex than that. The film is better than the TV series, that's for sure. I love this movie. It had some great comedy (I mean, come on, who doesn't love the prank they did with Hotlips?), some interesting drama, and a LOT of cynicsm. Robert Duvall was my favorite actor in the movie, right next to the great Elliot Gould. There were some scenes that confused me, but this is a movie that needs to be watched a 2ns, or 3rd time. It's very confusing if you don't know what the atmosphere was like in 1970. Just a great film, glad to have seen it.
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