M*A*S*H

Set in the midst of the Korean War, M*A*S*H is a satirical comedy-drama that follows the lives of a mobile army surgical hospital (MASH) unit in South Korea in 1952. The film is based on the novel of the same name by Richard Hooker, and it was directed by Robert Altman in 1970. The story revolves around the 4077th MASH unit, which is stationed in the midst of the war and is responsible for treating the wounded soldiers. The unit is led by Lieutenant Colonel Henry Blake (played by Roger Bowen), a kind-hearted and strict commanding officer who tries to maintain a sense of discipline amidst the chaos of war. However, the real characters that drive the plot of the film are the surgeons and staff of the 4077th. Led by Captain Benjamin Franklin "Hawkeye" Pierce (played by Alan Alda), a cynical and irreverent doctor who is determined to maintain his sanity despite the horrors of war. Hawkeye is joined by Major Walter "Spouse-Dropper" Waldowsky and Captain "Duke" Forrest but he quickly becomes disillusioned with Spouse-Dropper who is portrayed by and often clashes with, the sweet but strict, Major Margaret Houlihan, also known as 'Hot Lips.' In contrast to Hawkeye's cynicism, there are characters like Lieutenant "Radar" Klinger (played by Gary Burghoff), a young and naive orderly who is eager to please and often falls into comedic situations. Radar quickly becomes a beloved and entertaining character throughout the film, often delivering his famous line, "That's all, folks, Radar out!" The film's tone is set early on with the arrival of Hawkeye, a real-life surgeon who believes that war is an outrage and wonders how he ever became involved in this kind of violence and the people involved. This cynical view of war is the tone of M*A*S*H throughout. Hawkeye has a special kind of camaraderie with a fellow surgeon, Captain John Quincy Coltraine, played by Gary Morgan (in the book only) but he has developed a particular animosity towards Spouse-Dropper as their relationship is as good as unwell and Coltraine just wasn’t, but more on that below. Hawkeye's exploits are primarily the comedic focus of the film, and they often push the boundaries of good taste and protocol. The most notable of these is his enduring and passionate on-again, off-again affair with Secretary Margaret Houlihan, who spars with the usually blunt yet eccentric Hawkeye who is constantly chiding her. The antagonistic yet flirtatious Houlihan with Hawkeye throughout the film as, is repeatedly described by Radar's comments that portrays the very humorous dynamic in the friendship. Hawkeye and Captain 'Trapper John' Kildare (played by Elliott Gould) have constant and jocular friction with their boss and colleague Major 'Hulk' Houlihan (seen above), her always icy demeanor is never disrupted, and their antipathy with her never makes a change in her demeanour. As for the wounded soldiers that the MASH unit treats, their presence and experiences serve as a stark reminder of the harsh realities of war. The film portrays the aftermath of war in graphic detail, revealing the physical and emotional trauma inflicted on those who return home. M*A*S*H uses a unique narrative device, featuring a Greek chorus of sorts in the form of a group of enlisted men who sing a song at the end of each episode. These songs often provide background information and provide some emotional lift to the characters, leaving the audience with a lasting sense of hope. M*A*S*H was a groundbreaking film in many ways, breaking down social taboos and achieving critical acclaim. With its stark portrayal of war and its moral complexities, the film challenges audiences to think critically about the consequences of war and its impact on those involved. Despite the dark and often bleak tone of the film, M*A*S*H is ultimately a tale of camaraderie and friendship forged in the depths of adversity. The relationships and interactions between the characters are authentic and genuine, making the story all the more compelling and memorable. As a commentary on war and its effects on humanity, M*A*S*H still stands today, continuing to provide a thought-provoking exploration of the human condition in the face of conflict. The anti-war undertones and themes of human fragility make for an even more poignant and relatable viewing experience, and many elements of the film also attract attention. With its enduring sense of wit, satire, and emotional depth, M*A*S*H stands as a testament to the power of film to challenge our understanding of the world and, specifically, the human experience.