MASH, 4 stars

What is left to say about a movie so classic as this, and one whose reputation holds up upon viewing such a unique and humanistic film? I won't reiterate the plot; it is languid and multi-faceted and most people are familiar with at least some aspects through either this film or the T.V. show that followed. I will simply say that while it is impossible to imagine film now without the influence of this movie's laconic yet surprisingly sharp style, trying to imagine how influential it was is quite a thought experiment.

Robert Altman had been a director of shorts and television before this film brought his name to national attention. His style is instantly recognizable. Overlapping conversations, a roaming camera, and an improvisational spirit are already present, although he would refine these signature techniques in countless ways over the long career that followed. I was surprised when researching this film afterward to find that there was strife on-set and that Donald Sutherland and Elliott Gould spent most of the movie trying to get Altman fired. Anyone seeing the finished product will wonder why The style, as well as being distinctive, is a perfect fit for the material and the performances are uniformly hilarious and appropriate. When a note of stronger emotion interjects, it is always handled perfectly and the overall tone of the film doesn't suffer. Why, then, only 4 stars for the film? While Altman's style is instantly engaging, there are minor pacing problems, and some of the characters seem underwritten (if you can stop laughing at them long enough to ponder such an issue). I am also grading on a sort of reverse curve, having seen later Altman films which show the heights to which he would take his unique filmmaking style. While this early example is terrific on its own merits, as an Altman film it hovers around second or third place among those I've seen. Still not one to miss at any cost; take it from someone who missed this film for 28 years and now feels relieved at remedying that oversight.