The pilot episode of M*A*S*H, which first aired on September 17, 1972, lays the foundation for what would become one of television’s most beloved and enduring series. Written by Larry Gelbart and directed by Gene Reynolds, the episode immediately establishes the show’s unique blend of sharp humor, satire, and heartfelt moments. With a premise centered around the antics of doctors and nurses at a mobile army surgical hospital during the Korean War, the series introduces a colorful cast of characters who set the stage for years of clever storytelling.
From the opening moments, the show makes its intentions clear: while M*A*S*H is set against the backdrop of war, it refuses to be defined by bleakness alone. The plot of the pilot revolves around Hawkeye Pierce (Alan Alda) and Trapper John McIntyre (Wayne Rogers) raising money to send their Korean houseboy, Ho-Jon, to medical school. Their method? A fundraiser involving a raffle for a weekend in Tokyo with a nurse—much to the dismay of the ever-strict Majors Frank Burns (Larry Linville) and Margaret "Hot Lips" Houlihan (Loretta Swit).
This episode does a fantastic job of setting the tone for the series. The humor is fast and witty, with one-liners flying so quickly that some may go unnoticed on a first watch. While I expected more slapstick, the comedy is actually more quick-witted and dialogue-driven, giving the show a sharper edge than other sitcoms of its era. There’s a Chevy Chase-esque quality to Hawkeye—charming, sarcastic, and always a step ahead of those around him.
The ensemble cast is already in top form, and it’s easy to see why M*A*S*H would go on to be such a success. Alda’s Hawkeye is the undeniable center of the show, effortlessly balancing irreverence with sincerity. Trapper John serves as the perfect partner-in-crime, and McLean Stevenson’s Lt. Col. Henry Blake is a delightfully oblivious but ultimately good-hearted leader. The friction between Hawkeye and the by-the-book Frank Burns makes for some of the episode’s best moments, with Burns being just annoying enough to make Hawkeye’s rebellious antics feel justified.
Radar O’Reilly (Gary Burghoff) is another standout, with his uncanny ability to anticipate orders before they’re even given. And while she doesn’t get much screen time, Karen Philipp as Lt. Dish certainly makes an impression. The cast's chemistry is evident right from the start, and it’s clear that these characters will only grow stronger as the series progresses.
Despite the occasional absurdity (such as Hawkeye and Trapper sedating Frank to keep him from interfering with their party), the episode never loses sight of the realities of war. The humor is there to cope with the chaos, but when the moment calls for it, the show gets serious. The arrival of wounded soldiers interrupts the fun, serving as a stark reminder of the stakes at hand. General Hammond’s (G. Wood) decision to drop charges against Hawkeye and Trapper after witnessing their surgical skill reinforces the idea that, beneath all the mischief, these are doctors doing incredibly important work.
The pilot of M*A*S*H is a fantastic entry point into a series that would go on to redefine television comedy. While the laugh track might feel a little dated and the opening theme is surprisingly somber given the humor that follows, the episode is packed with clever writing, memorable characters, and a solid mix of humor and heart. It’s easy to see why the show became such a cultural phenomenon.
Will I keep watching? Most likely. If nothing else, it’s something to throw on when I need a break from Seinfeld. But with a cast this strong and writing this sharp, I have a feeling I’ll be sticking around for more.
I had never seen M*A*S*H before, but this review comes at the request of one of my subscribers, Chris Haskett. If you’d like to request a review or have me cover something specific, join the subscriber hub or shoot me a message, and I’ll make it happen. Huge thanks to Chris for the support—what should I review next?
Jessie Hobson