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M*A*S*H (1972)

M*A*S*H poster

M*A*S*H (1972)

Overview

The 4077th Mobile Army Surgical Hospital is stuck in the middle of the Korean war. With little help from the circumstances they find themselves in, they are forced to make their own fun. Fond of practical jokes and revenge, the doctors, nurses, administrators, and soldiers often find ways of making wartime life bearable.


Starring Cast


Where to watch

Hulu logoHulu
Apple TV logoApple TV
Google Play logoGoogle Play
Powered byJustWatch

Rating & Dimensions

Bias Rating
Analyzing...
Leans Progressive

Political: Strong Left
Diversity: Moderate
Christianity: Positive
Judaism: Positive

Viewer Rating
7.9

Overview

The 4077th Mobile Army Surgical Hospital is stuck in the middle of the Korean war. With little help from the circumstances they find themselves in, they are forced to make their own fun. Fond of practical jokes and revenge, the doctors, nurses, administrators, and soldiers often find ways of making wartime life bearable.


Starring Cast


Where to watch

Hulu logoHulu
Apple TV logoApple TV
Google Play logoGoogle Play
Powered byJustWatch

Detailed Bias Analysis

Analyzing...
Leans Progressive

Primary

M*A*S*H's central thesis is an explicit and scathing critique of the absurdity and dehumanizing nature of war and military bureaucracy, aligning with progressive anti-establishment and anti-war ideologies.

The movie features a predominantly white cast, consistent with its historical setting and the era of its production, without explicit DEI-driven casting choices. Its narrative offers a satirical critique of war and military authority, often lampooning traditional male figures and their behaviors, but this critique is broad and anti-establishment rather than explicitly centered on modern DEI themes.

Secondary

Father Mulcahy, a Catholic priest, is a consistently compassionate and moral character whose faith provides comfort and guidance amidst the horrors of war. The narrative portrays his religious practices and personal virtues with deep respect, often highlighting the dignity and resilience found in his spiritual conviction.

Jewish characters and traditions are depicted as an integral part of the diverse M*A*S*H unit. The show portrays Jewish practices and individuals with respect and nuance, integrating them into the narrative without resorting to stereotypes or negative framing.

The M*A*S*H television series, while progressive in many social commentaries for its era, does not include identifiable LGBTQ+ characters or themes. The narrative primarily focuses on the lives and experiences of military personnel during the Korean War without addressing queer identities or issues.

The television series M*A*S*H does not feature identifiable transsexual characters or themes. While cross-dressing occurs, notably by the character Klinger, it is consistently presented as a comedic ruse to obtain a discharge, not as an expression of gender identity.

The movie does not contain any action or adventure elements.

The M*A*S*H television series adapted characters from the original novel and film. All major characters, such as Hawkeye Pierce, Trapper John, and Margaret Houlihan, maintained their established genders from the source material. There are no instances of a character canonically established as one gender being portrayed as a different gender in the show.

The television series M*A*S*H (1972) adapted characters from the original novel and 1970 film. All major characters retained their established racial portrayals from the source material, with no instances of a character canonically established as one race being depicted as a different race.


Viewer Rating Breakdown

7.9

Viewer Rating

Combines user and critic ratings from four sources

User Ratings

IMDB logo
8.5
The Movie Database logo
7.9

Critic Ratings

Rotten Tomatoes logo
N/A
Metacritic logo
7.2

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