Word: mashed
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Dates: during 2000-2009
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...Sarkozy is not the only candidate to poll poorly in the music stakes. Most efforts over the 25-year history of the French campaign song have been, frankly, terrible. But thanks to the marvels of Web 2.0, the Internet has breathed new life into the genre. Mash-ups and tribute tracks abound on dailymotion.com (the French answer to YouTube) and in the country's satirical blogs...
DIED. Robert Altman, 81, prolific, curmudgeonly, irreplaceable renegade whose movies both defined and mocked the modern American spirit; in Los Angeles. Arriving in Hollywood after copiloting B-24 bombers in World War II, the Kansas City native kicked around the industry for nearly a quarter-century before directing MASH (1970), a ribald Army comedy set in the Korean War but offering a cynical take on U.S. involvement in Vietnam. MASH set the Altman attitude and technique: sprawling frescoes with crawling cameras, dozens of characters, overlapping dialogue, and a belief that life was way too messy and complex for ordinary film...
...MASH had the shock of the new. With its boisterous camaraderie, hearty and heartless, the film virtually created the modern concept of hipness. It kept surfacing in the overdog comedy of National Lampoon and Saturday Night Live and David Letterman and Spy magazine, in the stoned bravado of Bill and Ted and Beavis and Butt-head. (The Bill Murray persona, of blithe sarcasm and weary soldiering-on, could have been invented by Altman; it's a shame the two men never made a film together.) Amid the triage of Korea - read: Vietnam - Altman's super-cool medics found fraternity...
...some viewers, MASH was an exercise less in Olympian misanthropy than in leering misognyny, especially in its twitting of the prim Hot Lips Houlihan as a secret sexpot worthy of being exposed before the entire company as she took a shower. The curtain falls, Hot Lips is revealed naked, the medics applaud at their practical joke and feminism takes a nasty hit. (I could name one young bride who, after storming out of a screening room at the end of that shower scene, literally went home to her mother, telling her husband, "I don't want to live with someone...
...also happened that MASH was the biggest commercial success of Atlman's long career. He cared about box office only insofar as it could attract financing for other films. After a hit like MASH or, to a lesser extent, Nashville, he would quickly line up five more films that didn't cost much and didn't have to make much. The flurry of films that followed MASH were no blockbusters, but they helped shaped a generation's idea of its own potential, and of the cinema's. Altman subverted genres like the western (McCabe & Mrs. Miller) and the private...