It begins with the “stupidest song ever written,” as Robert Altman called it, and ends with a self-referential jab at the very idea of finding comic relief in the tragedy of war. But it is equally unserious, the film “M.A.S.H” seem to suggest, to take seriously the authority of war-making institutions, and their pretense to putting violence in service of an ideal. And so morality succumbs to mockery, love to hedonism, and military rank to the form of authority immanent in the power to save lives. Yet suicide is not in fact painless, if it means robbing others of our presence, or ridding ourselves of the capacities for grief and earnestness. Wes & Erin discuss the 1970 classic “M.A.S.H,” and whether irony ought always to be our anesthetic, when confronted with traumas that are otherwise unspeakable.
Upcoming Episodes: Rilke, Rebecca (1940), Dickinson.
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