M*A*S*H: A writer’s view. #3 in the series.
In the 1970s, American TV networks still jealously guarded their right (honoured by time but by nobody else) to broadcast episodes of shows in whatever order they pleased. Sometimes show-runners used this tradition in their own favour, working with the network to reserve a show already in the can and run it at a more dramatically appropriate time in the season. ‘Henry, Please Come Home’, though the second episode of M*A*S*H to be filmed, was the ninth one broadcast. This gave the characters time to establish themselves with the viewing public, and increased the surprise when Frank Burns was abruptly put in command of the 4077th.
Next, the M*A*S*H crew turned out several run-of-the-mill sitcom episodes. Hawkeye taps Frank for a pint of blood in his sleep; Hawkeye and Trapper trade Henry’s antique desk on the black market for medical supplies; Hawkeye does a hammy turn as a private eye. These stories could just as well have taken place in any of the old-fashioned military comedies that M*A*S*H was supposed to be in such strong reaction against – Sgt. Bilko or Gomer Pyle. Only the recurring O.R. scenes reminded us that the war was going on and people were dying. It is said that Alan Alda’s contract required at least one O.R. scene in every episode. He had been reluctant to sign on (though CBS had made him their first and only choice for the role of Hawkeye), because he feared that the show would inevitably devolve into yet another routine sitcom about hijinks in the service. It nearly happened. A march to the rear was called for: M*A*S*H needed to reconnect with its roots.
Larry Gelbart achieved this in fine style with another script adapted from an incident in the novel (and the film): ‘Chief Surgeon Who?’ The intervening episodes had allowed the actors to settle into their roles; now, for the first time, we see the structure of the cast – the three double acts – in full bloom. This episode marks several important milestones for the series all at once. Hawkeye definitely takes over as the lead character, giving the lie to the original idea that this was to be a show with an ensemble cast. The writers say their final farewell to MASH, the novel: this is the last script drawn from Richard Hooker’s book, except for a single scene five years later. It also marks the first appearance of a breakout character, later to become the first series regular not taken from the book or movie: the unforgettable Maxwell Q. Klinger.
For all these reasons, ‘Chief Surgeon Who?’ is worth studying in detail. [Read more…]
Recent Comments