Review of M*A*S*H (1970) by Daniel K — 17 Dec 2009
4: Robert Altman's films are always unmistakable and this is definitely no exception. I always feel a bit voyeuristic and privileged while watching an Altman picture, as if I'm being given a unique view into a hitherto unknown world.
The camera simply tracks and pans along with a the characters in a nonchalant, but always purposeful way. It often seems one is looking in on the action from a great distance and that the camera must be hidden from the view of the characters in the story as well.
It's as if they're unaware of its presence. This is one of his finest efforts, but it isn't even close to being my favorite. Gosford Park, The Long Goodbye, Nashville, and McCabe & Mrs.
Miller all probably rank higher for me. 3 Women, The Player, Short Cuts, and Tanner '88 are all up there as well. It is very easy to imagine this picture being possible only because studio executives were busy elsewhere with bigger budget and supposedly more important fare, which is reportedly indeed the case.
It seems a bit like insurgency filmmaking, in which Altman, his cast, and his crew are at war with the established norms of Hollywood. The story is compelling, the setting perfect, the characters off the wall and unforgettable, and the themes eternal.
The loudspeaker announcements are classic as are many of the scenes of hilarity. Gould and Sutherland are definitely the highlights of the picture, but they're surrounded by such an eclectic and brilliant bunch of actors that it seems it would be a bit difficult for them to go wrong.
I can't think of another film filled to the brim with quite this much acerbic wit, lunacy, and zest for life.
This review of M*A*S*H (1970) was written by Daniel K on 17 Dec 2009.
M*A*S*H has generally received very positive reviews.
Was this review helpful?
