Hawkeye Pierce is standing over a bleeding, open chest and in his hand he holds a hacksaw. Next, we see him use it to cut through a bone. This graphic moment, and a couple of others as well, were too gritty for the TV series that would be inspired by the film M*A*S*H. Certainly, these graphic moments are strong reminders of the atrocities during the Korean War, but other subjects -- such as religion, suicide, extramarital affairs and homosexuality -- are comic targets as well. This leads me to believe the movie is about more than just war and its futility. It's a potshot at established conventions too.
The film is overcast, drab and dreary, which is an appropriate effect for its Korean setting. The 4077th is a surgical hospital about three miles from the frontlines. Doctors Trapper John (Elliott Gould), Duke Forrest (Tom Skerritt) and Hawkeye Pierce (Donald Sutherland) work exhaustive shifts, but have no patience for those who adhere to military standards. They target the prudish new head nurse Margaret O'Houlihan (Sally Kellerman) and her Bible-thumping beau Major Frank Burns (Robert Duvall) in a rather public prank that generates the film's funniest moment. Keeping the (relative) peace on the base is Major Frank Burns (Roger Bowen), whose very orders are predicted by his devoted aide Corporal Radar O'Reilly (Gary Burghoff, who reprised the same role on the TV series as well). René Auberjonois plays Father Mulcahy and John Schuck is the confused Captain Painless.
M*A*S*H is directed by Robert Altman, and while this isn't one of his better turns, it was nevertheless his breakthrough outing and would introduce the film world to his unique style. Two, three, and sometimes more lines of dialogue overlap at certain points and often many of the punchlines are simply thrown away with little fanfare. It's a conscious decision that for the most part works, because it helps to retain a dark tone without resorting to slapstick overkill. In addition, the camera zooms around and often keeps subjects out of frame for the sake of a realistic approach. The operating rooms, mess halls and soldier tents are appropriately crowded and chaotic. Still, when compared with the long-running TV series, this 1970 work seems less cohesive, particularly for someone as meticulous and ingenious as Altman.
The performances are generally fine, and no singular actor stands out. M*A*S*H is about vignettes and individual scenes, rather than a traditional Hollywood storyline. Alas, the palpable proximity to the war is never really felt, and none of the patients are introduced; this was a plot angle the TV series wisely latched onto. With sly nods to Christ's Last Supper and anti-authoritarian views, the combination of improvisational filmmaking and pointed satire tends to sometimes get blurred but it still makes for compelling viewing over 30 years later.
