M* A* S* H
Seven, noon, M ( 1970)
Robert Altman’s uncanny pictorial of the lighter side ( read: madcap) of the Korean War follows the antics of an array of American offi cers working in the Mobile Army Surgical Hospital. The uncensored, raw nature of the jokery and performances sets this far apart from the equally magnifi cent ensuing TV series. With its fingers-up attitude, Altman’s scream of a movie – the first studio film to use the “ F” word – was responsible for the spate of “ irreverent” and “ leisurely” films that followed in its wake.