M*A*S*H's Recent Activity

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Post By: pippin06
Post To: Reel Thoughts
Post Date: 6/22/2009 12:20:13 PM
Body: What's the AFI project, you ask? For more information, or if you just enjoy my bemused ramblings, read here: http://www.spout.com/blogs/pippin06/archive/2008/3/1/25756.aspx M*A*S*H is on the following AFI lists: The Original Top 100 (#56)100 Funniest Films (#7)100 Greatest Film Songs (#66 - "Suicide is Painless")The Revised Top 100 (#54) As a child of the 80s, it probably comes as no great shock that I was at least somewhat, if passingly, familiar with the TV show starring Alan Alda that was based on this film more than I was familiar with the film itself. While I don't remember much of the TV show, as I never watched it with much interest (it was more for adults, after all), and as I haven't picked it up again on TV Land or on some similar syndicated television Mecca, I figured I wouldn't have too many preconceived notions or influences that would color my ability to appreciate the film, which is far less situational and, in some ways, more stream of consciousness than its offspring. I think I might have miscalculated, as I had no concept of how this movie would play out. I don't believe I had many expectations, but of what I had, this film did not meet or coincide with any. Directed by Robert Altman, the film really has no plot; it was described to me as a "series of events," darkly satrical, that the potential viewer is either going to find funny or not funny. The film depicts the hijinks of members of a Mobil Army Surgical Hospital (i.e. MASH) in the Korean War. Donald Sutherland plays Hawkeye Pierce; Elliott Gould plays Trapper John McIntyre; and Tom Skerritt plays Duke Forrest, and together, these merry three musketeers pass their tours of duty by generally undercutting if not humiliating the more pompous and less martini-drinking members of their unit, including religious zealot Major Frank Burns (Robert Duvall) and Army loyalist Major "Hot Lips" Houlihan (Sally Kellerman). Between gory trips into the operating room, Hawkeye and company cajole themselves into a side trip to Japan for a round of golf and challenge another army unit to a rousing football game. All the while, the film and the film's direction, in care of Altman, become an exercise in being a "fly on the wall," listening in to multiple, simultaneious conversations as if in some board room meeting or crowded bar. Meanwhile, random acts of hilarity punctuate the proceedings. This frenetic style of filmmaking was certainly an original approach, lending well to the dark comedy slyly masking subtle social commentary about the less logical elements of war. Some of the "series of events" were made funnier by the characters overstepping each other's dialogue in the natural flow of conversation or by delivering punchlines in an almost afterthought-like way. My favorite scene and the one I easily found funniest was the football game, mainly because Hot Lips becomes this slightly crazy cheerleader captain, which inspires several of the players and the coach to lobby crazy insults at her, such as "Hot Lips, you idiot." The problem with this style of filmmaking is that many of the jokes and situations were tough to pick out amongst the din. The operating room scenes almost put me to sleep because too much was going on and too many people were talking, and even when I tried to focus on someone like Hawkeye, the actors in these scenes were clearly directed to do as many things at once as possible. It was distracting in an annoying way rather than in a funny way. I think if I was a contemporary of the Vietnam War, I would find this film highly amusing. Altman clearly infused this film with the spirit of anti-war sentiment, the careful rebellion and sense of revolution brought on by flower children and other members of the counterculture. Yet again, however, I find myself marginally turned off by a film of this period. I can appreciate the originality and creativity of the filmmaking style (and I certainly have enjoyed other efforts of Altman's), but I could not relate to this film, even if some of the sight gags and pranks elicited a few chuckles from me. The comedy was borne out of a time and environment that would probably tickle my funny bone more if I had lived in it. The most delightful part about watching this film was seeing this particular group of stars in their younger heydeys. I am a fan of Donald Sutherland's, I enjoy him in almost every film he is in, and it was a treat to see him in a comedic role when he was young and energetic looking (as a side note, I am bummed about the cancellation of "Dirty Sexy Money" because he was the reason to watch that show!). Is M*A*S*H the seventh funniest film, as posited by the AFI? I barely laughed at all, and even if dark comedy is supposed to make one squirm more than laugh, I barely even did that. There were parts of the film that had me laughing more than others (the football game, for example). By means of foreshadowing, when I reach the AFI's Funniest list, I will be introducing a new ratings scale designed to rate how funny I think a film is. For now, I think it's fair to say that M*A*S*H likely appeals to the funny bones of a particular audience, and, sadly, I'm not a member of that audience. Still, I can see why the AFI saw fit to rank the film. I have never seen a film like this one, before or since, comedy or otherwise. It seems to have been one of those fresh and uniquely timed entries into film history, revered enough to not solicit too many poor imitations. And though I didn't relate to the film, my inability to connect to it doesn't totally detract from its place in the annals of American films because it is what it is, an inventive and unusual comedy. On the other hand, the movie is not perfect, and a comedy billed to have universal appeal (as I imagine all highly ranked comedies should have) should live up to its advertising. After long, hard, careful consideration, I feel M*A*S*H merits a 7 on the patented ratings scale for being shaky but entertaining. It gets points for originality and for spawning a widely acclaimed television show but loses points for being less than funny and something more than a time capsule for its period (as all of the late 60s/early 70s films on the list seem to be). Also, the creativity of the filmmaking format aside, it probably warrants at least three viewings to catch all of the jokes and sight gags, but I didn't find it funny enough the first time to want to purchase it, so it does not pass the test. Perhaps, if I see it on cable, I'll give it another chance, but I think M*A*S*H is symbolic of a moment in time, and that moment has clearly passed.
]]>Mon, 22 Jun 2009 16:20:13 GMTpippin06Reel Thoughts6/22/2009 12:20:13 PMWhat's the AFI project, you ask? For more information, or if you just enjoy my bemused ramblings, read here: http://www.spout.com/blogs/pippin06/archive/2008/3/1/25756.aspx M*A*S*H is on the following AFI lists: The Original Top 100 (#56)100 Funniest Films (#7)100 Greatest Film Songs (#66 - "Suicide is Painless")The Revised Top 100 (#54) As a child of the 80s, it probably comes as no great shock that I was at least somewhat, if passingly, familiar with the TV show starring Alan Alda that was based on this film more than I was familiar with the film itself. While I don't remember much of the TV show, as I never watched it with much interest (it was more for adults, after all), and as I haven't picked it up again on TV Land or on some similar syndicated television Mecca, I figured I wouldn't have too many preconceived notions or influences that would color my ability to appreciate the film, which is far less situational and, in some ways, more stream of consciousness than its offspring. I think I might have miscalculated, as I had no concept of how this movie would play out. I don't believe I had many expectations, but of what I had, this film did not meet or coincide with any. Directed by Robert Altman, the film really has no plot; it was described to me as a "series of events," darkly satrical, that the potential viewer is either going to find funny or not funny. The film depicts the hijinks of members of a Mobil Army Surgical Hospital (i.e. MASH) in the Korean War. Donald Sutherland plays Hawkeye Pierce; Elliott Gould plays Trapper John McIntyre; and Tom Skerritt plays Duke Forrest, and together, these merry three musketeers pass their tours of duty by generally undercutting if not humiliating the more pompous and less martini-drinking members of their unit, including religious zealot Major Frank Burns (Robert Duvall) and Army loyalist Major "Hot Lips" Houlihan (Sally Kellerman). Between gory trips into the operating room, Hawkeye and company cajole themselves into a side trip to Japan for a round of golf and challenge another army unit to a rousing football game. All the while, the film and the film's direction, in care of Altman, become an exercise in being a "fly on the wall," listening in to multiple, simultaneious conversations as if in some board room meeting or crowded bar. Meanwhile, random acts of hilarity punctuate the proceedings. This frenetic style of filmmaking was certainly an original approach, lending well to the dark comedy slyly masking subtle social commentary about the less logical elements of war. Some of the "series of events" were made funnier by the characters overstepping each other's dialogue in the natural flow of conversation or by delivering punchlines in an almost afterthought-like way. My favorite scene and the one I easily found funniest was the football game, mainly because Hot Lips becomes this slightly crazy cheerleader captain, which inspires several of the players and the coach to lobby crazy insults at her, such as "Hot Lips, you idiot." The problem with this style of filmmaking is that many of the jokes and situations were tough to pick out amongst the din. The operating room scenes almost put me to sleep because too much was going on and too many people were talking, and even when I tried to focus on someone like Hawkeye, the actors in these scenes were clearly directed to do as many things at once as possible. It was distracting in an annoying way rather than in a funny way. I think if I was a contemporary of the Vietnam War, I would find this film highly amusing. Altman clearly infused this film with the spirit of anti-war sentiment, the careful rebellion and sense of revolution brought on by flower children and other members of the counterculture. Yet again, however, I find myself marginally turned off by a film of this period. I can appreciate the originality and creativity of the filmmaking style (and I certainly have enjoyed other efforts of Altman's), but I could not relate to this film, even if some of the sight gags and pranks elicited a few chuckles from me. The comedy was borne out of a time and environment that would probably tickle my funny bone more if I had lived in it. The most delightful part about watching this film was seeing this particular group of stars in their younger heydeys. I am a fan of Donald Sutherland's, I enjoy him in almost every film he is in, and it was a treat to see him in a comedic role when he was young and energetic looking (as a side note, I am bummed about the cancellation of "Dirty Sexy Money" because he was the reason to watch that show!). Is M*A*S*H the seventh funniest film, as posited by the AFI? I barely laughed at all, and even if dark comedy is supposed to make one squirm more than laugh, I barely even did that. There were parts of the film that had me laughing more than others (the football game, for example). By means of foreshadowing, when I reach the AFI's Funniest list, I will be introducing a new ratings scale designed to rate how funny I think a film is. For now, I think it's fair to say that M*A*S*H likely appeals to the funny bones of a particular audience, and, sadly, I'm not a member of that audience. Still, I can see why the AFI saw fit to rank the film. I have never seen a film like this one, before or since, comedy or otherwise. It seems to have been one of those fresh and uniquely timed entries into film history, revered enough to not solicit too many poor imitations. And though I didn't relate to the film, my inability to connect to it doesn't totally detract from its place in the annals of American films because it is what it is, an inventive and unusual comedy. On the other hand, the movie is not perfect, and a comedy billed to have universal appeal (as I imagine all highly ranked comedies should have) should live up to its advertising. After long, hard, careful consideration, I feel M*A*S*H merits a 7 on the patented ratings scale for being shaky but entertaining. It gets points for originality and for spawning a widely acclaimed television show but loses points for being less than funny and something more than a time capsule for its period (as all of the late 60s/early 70s films on the list seem to be). Also, the creativity of the filmmaking format aside, it probably warrants at least three viewings to catch all of the jokes and sight gags, but I didn't find it funny enough the first time to want to purchase it, so it does not pass the test. Perhaps, if I see it on cable, I'll give it another chance, but I think M*A*S*H is symbolic of a moment in time, and that moment has clearly passed. Spout Post: Re: AFI's 100 Funniest - Comedy and the Oscars (a List in Progress) http://www.spout.com/groups/It_s_a_Wonderful_Night_for_Oscar/Re_AFI_s_100_Funniest_Comedy_and_the_Oscars_a/46/32696/1/ShowPost.aspx

Post By: Risselada
Post To: It's a Wonderful Night for Oscar!
Post Date: 7/17/2008 6:08:25 PM
Body: [quote user="pippin06"] I thought I'd revive this discussion, even though I am the only one who seems to have been having it. I just watched Some Like It Hot again (for the second time), and I'm still baffled as to why this gets top honors on AFI's Funniest List when it fails to make me laugh. I sort of chuckle at Jack Lemmon, but it's not the roll-on-the-ground-clutching-your-sides-type-funny you would expect it to be for such a high ranking, at least not to me (but I know I'm not the only one who feels this way). Which makes me wonder if I've even got it right. Is my sense of humor out of wack? Or do I not appreciate the finest sensibilities of art versus comedy? Can't comedy be an art form? If comedy can be artsy, does the artsy quality detract from the funny? What's the perfect balance? And is there a film that strikes it - and if that film is Some Like It Hot, let's talk about why. [/quote] I saw Some Like It Hot not too long ago as well, and was quite disappointed knowing it's reputation. I did not laugh too much. It was also my first Marilyn Monroe movie too, and I find her quite irritating. This is also now my least favorite Billy Wilder film I've seen. So I have no idea why it's number one on this list. There are a couple others high up on the list that I don't laugh at all either like The Graduate. Annie Hall and MASH don't really make me laugh out loud either. But then you get Airplane!, the Marx Brothers, and Mel Brooks films all up high on the list too, and those all make me laugh outloud almost constantly. And then of course there is Dr. Strangelove at #3 which is no only one of the most laugh out loud hilarious movies, it is also one of the greatest movies of all time in every other category as well. I guess there's just quite a mix on the list of movies for people with different senses of humor. [quote user="pippin06"] Here, Some Like It Hot is rated #4, while Monty Python and the Holy Grail, a film I personally find gutbustingly hilarious is #1 (and that film never even made the AFI list!). [/quote] Well you seem to forget that this is the American Film Institute's list of America's Funniest Movies. Monty Python is 100% British so I don't think it counts. If we started letting those Brits and even those Canadians in we'd have a lot more to contend with.
]]>Thu, 17 Jul 2008 22:08:25 GMTRisseladaIt's a Wonderful Night for Oscar!7/17/2008 6:08:25 PM[quote user="pippin06"] I thought I'd revive this discussion, even though I am the only one who seems to have been having it. I just watched Some Like It Hot again (for the second time), and I'm still baffled as to why this gets top honors on AFI's Funniest List when it fails to make me laugh. I sort of chuckle at Jack Lemmon, but it's not the roll-on-the-ground-clutching-your-sides-type-funny you would expect it to be for such a high ranking, at least not to me (but I know I'm not the only one who feels this way). Which makes me wonder if I've even got it right. Is my sense of humor out of wack? Or do I not appreciate the finest sensibilities of art versus comedy? Can't comedy be an art form? If comedy can be artsy, does the artsy quality detract from the funny? What's the perfect balance? And is there a film that strikes it - and if that film is Some Like It Hot, let's talk about why. [/quote] I saw Some Like It Hot not too long ago as well, and was quite disappointed knowing it's reputation. I did not laugh too much. It was also my first Marilyn Monroe movie too, and I find her quite irritating. This is also now my least favorite Billy Wilder film I've seen. So I have no idea why it's number one on this list. There are a couple others high up on the list that I don't laugh at all either like The Graduate. Annie Hall and MASH don't really make me laugh out loud either. But then you get Airplane!, the Marx Brothers, and Mel Brooks films all up high on the list too, and those all make me laugh outloud almost constantly. And then of course there is Dr. Strangelove at #3 which is no only one of the most laugh out loud hilarious movies, it is also one of the greatest movies of all time in every other category as well. I guess there's just quite a mix on the list of movies for people with different senses of humor. [quote user="pippin06"] Here, Some Like It Hot is rated #4, while Monty Python and the Holy Grail, a film I personally find gutbustingly hilarious is #1 (and that film never even made the AFI list!). [/quote] Well you seem to forget that this is the American Film Institute's list of America's Funniest Movies. Monty Python is 100% British so I don't think it counts. If we started letting those Brits and even those Canadians in we'd have a lot more to contend with. Spout Post: On The Fence...For Now http://www.spout.com/blogs/jakestevens/archive/2008/1/29/24522.aspx

Post By: JakeStevens
Post To: JakeStevens Blog
Post Date: 1/29/2008 4:40:36 PM
Body: I guess I just didn't get it. I like Robert Altman, I like his movies and I like a good majority of the actors in this film...I guess I just didn't like this film as a whole. Don't get me wrong - there are some very funny parts in this film and it's a very subtle humor...I don't think I cared for the execution. Hmphf. I'll definitely need to see this again, but as it stands right now, I'm pretty neutral about it.
]]>Tue, 29 Jan 2008 21:40:36 GMTJakeStevensJakeStevens Blog1/29/2008 4:40:36 PMI guess I just didn't get it. I like Robert Altman, I like his movies and I like a good majority of the actors in this film...I guess I just didn't like this film as a whole. Don't get me wrong - there are some very funny parts in this film and it's a very subtle humor...I don't think I cared for the execution. Hmphf. I'll definitely need to see this again, but as it stands right now, I'm pretty neutral about it. Spout Post: movie year countdown #14 - 1993 - Short Cuts http://www.spout.com/blogs/risselada/archive/2007/9/17/19868.aspx

Post By: Risselada
Post To: Risselada Blog
Post Date: 9/17/2007 2:45:50 PM
Body: This blog entry is part of my “movie year countdown”. To read more about that check out my first Spout filmblog entryShort CutsI'd seen two other Altman movies before this. I loved The Player but M*A*S*H was not quite as great as I was hoping. I knew I was taking a risk on a movie nearly 3 hours long, but luckily it was fantastic.While they are definitely two different approaches, the movie uses it's huge cast with unusual connections successfully in the same way as Magnolia. I think that Magnolia is the improvement, but in a way you should not compare them. I'd never read any of Raymond Carver's writings, but would be interested after this.As a movie fan though I think the most initially overwhelming and impressive thing about this movie is the cast list. As you are watching the opening titles and the names just keep coming at you like an unstoppable barrage you aren't quite sure what to think. A lot of movies with a huge cast of celebrities like this often bomb. But usually those types of movies are average length comedies where each actor basically gets a cameo and some goofy joke line. In this situation each actor gets plenty of time over the 3 hours to really bring every fully formed character to life.Each story is wonderful and it's hard to pick a favorite. It would have been great to watch even if the different Carver stories had all been completely separate. But the most overwhelming and impressive thing about the movie subsequent to watching it is thinking about all the different connections. I'm such a geek that I wrote down every character and drew lines to the other characters to see how many different characters had interactions with or were related to other characters. It's pretty impressive. But the movie is so long and there are so many characters it rarely feels forced.Altman is an interesting guy. I'm curious to see some more facets of his work, even though sometimes some of his politics of things annoy me. Mostly I'm interested.Rating: 9/10
]]>Mon, 17 Sep 2007 18:45:50 GMTRisseladaRisselada Blog9/17/2007 2:45:50 PMThis blog entry is part of my “movie year countdown”. To read more about that check out my first Spout filmblog entryShort CutsI'd seen two other Altman movies before this. I loved The Player but M*A*S*H was not quite as great as I was hoping. I knew I was taking a risk on a movie nearly 3 hours long, but luckily it was fantastic.While they are definitely two different approaches, the movie uses it's huge cast with unusual connections successfully in the same way as Magnolia. I think that Magnolia is the improvement, but in a way you should not compare them. I'd never read any of Raymond Carver's writings, but would be interested after this.As a movie fan though I think the most initially overwhelming and impressive thing about this movie is the cast list. As you are watching the opening titles and the names just keep coming at you like an unstoppable barrage you aren't quite sure what to think. A lot of movies with a huge cast of celebrities like this often bomb. But usually those types of movies are average length comedies where each actor basically gets a cameo and some goofy joke line. In this situation each actor gets plenty of time over the 3 hours to really bring every fully formed character to life.Each story is wonderful and it's hard to pick a favorite. It would have been great to watch even if the different Carver stories had all been completely separate. But the most overwhelming and impressive thing about the movie subsequent to watching it is thinking about all the different connections. I'm such a geek that I wrote down every character and drew lines to the other characters to see how many different characters had interactions with or were related to other characters. It's pretty impressive. But the movie is so long and there are so many characters it rarely feels forced.Altman is an interesting guy. I'm curious to see some more facets of his work, even though sometimes some of his politics of things annoy me. Mostly I'm interested.Rating: 9/10 Spout Post: #62 http://www.spout.com/blogs/eagle795/archive/2007/8/26/18804.aspx

Post By: eagle795
Post To: eagle795 Blog
Post Date: 8/26/2007 3:01:31 PM
Body: Before there was Alan Alda and Harry Morgan there was Donald Sutherland and Eliot Gould. The movie that spawned the TV show is quite amusing. A comedic war movie…works for me.
]]>Sun, 26 Aug 2007 19:01:31 GMTeagle795eagle795 Blog8/26/2007 3:01:31 PMBefore there was Alan Alda and Harry Morgan there was Donald Sutherland and Eliot Gould. The movie that spawned the TV show is quite amusing. A comedic war movie…works for me. Spout Post: M*A*S*H http://www.spout.com/blogs/hairylime/archive/2007/2/20/5650.aspx

Post By: HairyLime
Post To: HairyLime Blog
Post Date: 2/20/2007 8:23:00 PM
Body: In a discussion group recently the topic of 'book adaptations' has been brought up, and while I was watching this last night it occurred to me that this one is another good example of a successful 'book to movie' transformation that is neither too literal of a rote retelling, and stands on its own as a film.Caught the final third of this one a couple weekends ago while flipping channels, and then watched the rest of the movie yesterday evening. Not the first time I'd seen it (I've actually lost count how many times), and it struck me how very fresh and innovative it still seems 30 plus years after the fact. There wasn't really anything like it seen before, with its overlapping dialog, meandering storyline and counter-cultural viewpoints.Those brought up on the television series may find the flavor a little hard to digest, no neatly tied up plotlines, no laugh track, a subtler brand of humor.Gould and Sutherland are a great pairing, and would go on to costar in a few other 'anti-establishment' comedies after this to lesser success. Gary Burghoff is quite good as Radar and would go on to repeat the role on television (I actually find him funnier in the movie, more subversive, where he seems to turn into a cute little mascot on the television series), Bud Cort, John Shuck, Michael Murphy & Sally Kellerman would all go on to become Altman regulars, and Robert Duvall portrays a truly memorable Frank Burns, who is all the more frightful for his seriousness, where the television version is turned into a buffoonish caricature.A first feature by one of my favorite directors who unfortunately passed away last year, some other favorite Altman films: Nashville, McCabe & Mrs. Miller, 3 Women, Short Cuts, The Player, Gosford ParkSome other good 'anti-war' films and 'book adaptations': Catch 22, Slaughterhouse Five
]]>Wed, 21 Feb 2007 01:23:00 GMTHairyLimeHairyLime Blog2/20/2007 8:23:00 PMIn a discussion group recently the topic of 'book adaptations' has been brought up, and while I was watching this last night it occurred to me that this one is another good example of a successful 'book to movie' transformation that is neither too literal of a rote retelling, and stands on its own as a film.Caught the final third of this one a couple weekends ago while flipping channels, and then watched the rest of the movie yesterday evening. Not the first time I'd seen it (I've actually lost count how many times), and it struck me how very fresh and innovative it still seems 30 plus years after the fact. There wasn't really anything like it seen before, with its overlapping dialog, meandering storyline and counter-cultural viewpoints.Those brought up on the television series may find the flavor a little hard to digest, no neatly tied up plotlines, no laugh track, a subtler brand of humor.Gould and Sutherland are a great pairing, and would go on to costar in a few other 'anti-establishment' comedies after this to lesser success. Gary Burghoff is quite good as Radar and would go on to repeat the role on television (I actually find him funnier in the movie, more subversive, where he seems to turn into a cute little mascot on the television series), Bud Cort, John Shuck, Michael Murphy & Sally Kellerman would all go on to become Altman regulars, and Robert Duvall portrays a truly memorable Frank Burns, who is all the more frightful for his seriousness, where the television version is turned into a buffoonish caricature.A first feature by one of my favorite directors who unfortunately passed away last year, some other favorite Altman films: Nashville, McCabe & Mrs. Miller, 3 Women, Short Cuts, The Player, Gosford ParkSome other good 'anti-war' films and 'book adaptations': Catch 22, Slaughterhouse Five Spout Tag:war http://www.spout.com/members/0/tags/war/MemberTagFilms.aspxwar
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