Update mid-2018: This remains one of those very early college-era reviews I’m not especially content with. In an ideal world, I would write up a new piece, but having recently rewatched the film, I’ll simply note how much I still admire its bracingly self-effacing tone, its stylistic shagginess, and its will to break any illusion of a dramatic arc. Before, of course, Altman finally side-winds us with a self-critically arbitrary conclusion: a parodic football game that sketches the link between competitive sport and war-mongering, doubles as a satire of dramatic pay-off, and triples as a mockery of masculinity – that ego-stroking liminal realm where the interstices of anarchy and authoritarianism, id and dogma, collapse into one another – played in Altman’s quintessentially sardonic key.
Original – Edited – Review:
Long considered one of America’s favorite comedies, MASH was, ironically for its famed humor, director Robert Altman’s coming-out as a serious filmmaking force to be reckoned with. Released in 1970, it was one of the first films to deal with the Vietnam War (albeit under a historical guise) seriously and, released in January of 1970, it was the first masterpiece of the literal “1970s American New Wave” (which technically began a few years earlier in 1967). It’s a comedy, yes, but it’s also a daring, caustic exploration of male culture, American smugness and malaise (categorically Altman’s favorite topic as a bitterly comic dissector of his nation’s culture), and war bureaucracy (the connection to Joseph Heller’s Catch-22 is unmistakable, perhaps fitting considering the underwhelming formal adaptation of that book released the same year – one can’t complain though, for Altman gave us all we’ll ever need on the book). This is a film with many big laughs and many more subtle chuckles. But that I have used the word “serious” multiple times in only the first paragraph is anything but coincidence.