Ken Prymus Movies
- 1993
Just as they're closing in on the Mob, Kelly (David Caruso) and Fancy (James McDaniel) are ordered to turn off the heat. Though Sipowicz (Dennis Franz) will recover from his shooting, he may not be able to remember who tried to kill him. As Kelly's soon-to-be-ex-wife, Laura (Sherry Stringfield), prepares to go into private law practice, her neighbor Goldstein (David Schwimmer) arms himself against the possibility that he'll be mugged again. And despite orders to kill Kelly, Janice (Amy Brenneman) knocks off the man who ordered the hit. ~ Hal Erickson, All Movie Guide
Although he was not the first choice to direct it, the hit black comedy MASH established Robert Altman as one of the leading figures of Hollywood's 1970s generation of innovative and irreverent young filmmakers. Scripted by Hollywood veteran Ring Lardner, Jr., this war comedy details the exploits of military doctors and nurses at a Mobile Army Surgical Hospital in the Korean War. Between exceptionally gory hospital shifts and countless rounds of martinis, wisecracking surgeons Hawkeye Pierce (Donald Sutherland) and Trapper John McIntyre (Elliott Gould) make it their business to undercut the smug, moralistic pretensions of Bible-thumper Maj. Frank Burns (Robert Duvall) and Army true-believer Maj. "Hot Lips" Houlihan (Sally Kellerman). Abetted by such other hedonists as Duke Forrest (Tom Skerritt) and Painless Pole (John Schuck), as well as such (relative) innocents as Radar O'Reilly (Gary Burghoff), Hawkeye and Trapper John drive Burns and Houlihan crazy while engaging in such additional blasphemies as taking a medical trip to Japan to play golf, staging a mock Last Supper to cure Painless's momentary erectile dysfunction, and using any means necessary to win an inter-MASH football game. MASH creates a casual, chaotic atmosphere emphasizing the constant noise and activity of a surgical unit near battle lines; it marked the beginning of Altman's sustained formal experiments with widescreen photography, zoom lenses, and overlapping sound and dialogue, further enhancing the atmosphere with the improvisational ensemble acting for which Altman's films quickly became known. Although the on-screen war was not Vietnam, MASH's satiric target was obvious in 1970, and Vietnam War-weary and counter-culturally hip audiences responded to Altman's nose-thumbing attitude towards all kinds of authority and embraced the film's frankly tasteless yet evocative humor and its anti-war, anti-Establishment, anti-religion stance. MASH became the third most popular film of 1970 after Love Story and Airport, and it was nominated for five Academy Awards, including Best Picture and Best Director. As further evidence of the changes in Hollywood's politics, blacklist survivor Lardner won the Oscar for his screenplay. MASH began Altman's systematic 1970s effort to revise classic Hollywood genres in light of contemporary American values, and it gave him the financial clout to make even more experimental and critical films like McCabe and Mrs. Miller (1971), California Split (1974), and Nashville (1975). It also inspired the long-running TV series starring Alan Alda as Hawkeye and Burghoff as Radar. With its formal and attitudinal impudence, and its great popularity, MASH was one more confirmation in 1970 that a Hollywood "New Wave" had arrived. ~ Lucia Bozzola, All Movie Guide
- Starring:
- Elliott Gould, Donald Sutherland, (more)
George (Gary Lockwood) is a disillusioned 26-year-old who has just quit his stifling job. He lives in Los Angeles with an aspiring young actress named Gloria (Alexandra Hay), who is none too pleased with his recent unemployment. Hanging over his head is the constant threat of repossession of his car and the virtual certainty that he will be drafted into the army. He sees a beautiful woman in a big car and follows her to her home in the Hollywood hills. A rock-star friend loans him money for a car and he follows the mystery woman to a photography shop. Lola (Anouk Aimée) is an older French model who poses for photographs to pay the bills. After he takes pictures of her, he begins to fall in love with the woman. Gloria discovers the pictures and throws George out of the house. He returns to the model and the two have conversation over drinks before ending up in bed together. Lola wishes to return home to be with her young son and is reluctant to get involved in a relationship. George's relationship with Gloria ends when she leaves him over her failure to understand his motivations. He resigns himself to the fact he will be drafted and probably end up dead in a Vietnam rice paddy in this story of a young man in search of the greater meaning of life. ~ Dan Pavlides, All Movie Guide
- Starring:
- Anouk Aimée, Gary Lockwood, (more)
