Loretta Swit, the celebrated Emmy Award-winning actress best known for her iconic portrayal of Maj. Margaret "Hot Lips" Houlihan, the formidable head nurse in the groundbreaking TV series "M.A.S.H.," has passed away at the age of 87. Publicist Harlan Boll confirmed that Swit died Friday at her residence in New York City, with natural causes cited as the likely reason.
Swit, alongside co-star Alan Alda, was one of the longest-serving cast members on "M.A.S.H.," the acclaimed CBS show that ran for an impressive 11 years from 1972 to 1983. The series, inspired by Robert Altman's 1970 film and Richard Hooker's original novel, immersed viewers in the daily lives of the 4077th Mobile Army Surgical Hospital during the Korean War. Its two-and-a-half-hour finale on February 28, 1983, garnered an astounding 100 million-plus viewers, setting a record as the most-watched episode of any scripted series in history. "M.A.S.H." earned widespread critical acclaim, ranking #25 on Rolling Stone's list of best TV shows and receiving prestigious accolades such as the 2009 TV Land Impact Award and a 1975 Peabody Award for its profound blend of humor and commentary on war.
Transforming an Icon: From Caricature to Complex Character
In Robert Altman's film, the character of Houlihan was largely a one-dimensional figure—a rigid, by-the-book nurse often the target of torment from male colleagues, earning her the demeaning "Hot Lips" moniker. Sally Kellerman originated the role on screen, but it was Swit who took the character to new depths for television. Over the show's run, Swit was instrumental in evolving Houlihan into a much more nuanced and human figure. Her sexuality became less emphasized, and the "Hot Lips" nickname gradually faded from use in later seasons.
The burgeoning feminist movement of the 1970s certainly influenced Houlihan's transformation, but much of the character's growth was a direct result of Swit's persistent influence on the scriptwriters. "Around the second or third year I decided to try to play her as a real person, in an intelligent fashion, even if it meant hurting the jokes," Swit revealed to Suzy Kalter, author of "The Complete Book of ‘M.A.S.H.’" She explained her approach: "I took each traumatic change that happened in her life and kept it... She was a character in constant flux; she never stopped developing.”
While "M.A.S.H." didn't immediately soar to success, finishing its debut season in 46th place among 75 network series, a strategic shift to a Saturday night slot alongside the then-top-rated "All in the Family" propelled it forward. By the 1974 Emmys, it was crowned Best Comedy Series, and Alan Alda received the award for Best Comedy Actor. The series also navigated cast changes, with original members like Wayne Rogers, McLean Stevenson, Larry Linville, and Gary Burghoff eventually joined by Harry Morgan, Mike Farrell, and David Ogden Stiers, while Jamie Farr and William Christopher saw their roles expand.
Journey Gunderson, Executive Director of the National Comedy Center, lauded Swit's contribution, stating, "Loretta Swit’s portrayal of Margaret ‘Hot Lips’ Houlihan was groundbreaking — bringing heart, humor, and strength to one of television comedy’s most enduring roles. Her talent extended well beyond that iconic character..."
A Legacy of Influence
Swit appeared in all but 11 episodes of "M.A.S.H.," a run nearly four times longer than the Korean War itself. The show bravely tackled complex issues such as PTSD, sexism, and racism, and Swit consistently advocated for a more authentic and respectful portrayal of women. Alan Alda himself acknowledged her impact, telling The Hollywood Reporter in 2018, "One of the things I liked, with Loretta’s prodding, was every time I had a chance to write for her character, we’d get away from the Hot Lips angle and find out more about who Margaret was. She became more of a real person."
Houlihan's storyline concluded on a positive note in the series finale, with her opting to return to America for hospital work, a decision Swit personally disagreed with, believing Margaret's next logical step would have been Vietnam. However, Swit did get to pen Houlihan's poignant farewell speech to her fellow nurses, a moment that resonated deeply: "It’s been an honor and privilege to have worked with you. And I’m very, very proud to have known you.” Swit later shared that she still receives letters from women who were inspired to become nurses because of Margaret Houlihan, a testament to her profound impact.
Throughout her tenure, Houlihan had an affair with the bumbling Frank Burns, portrayed by Larry Linville, and in Season 5, returned from Tokyo engaged to a handsome lieutenant colonel—a storyline Swit herself championed to the writers for its comedic potential with Linville's character.
Swit was tempted to depart "M.A.S.H." earlier, having played Chris Cagney in the 1981 TV movie "Cagney & Lacey" and being offered the role for the subsequent series. However, producers insisted she remain for "M.A.A.S.H.'s" final two seasons. Swit reflected in 2010 that she likely would have stayed anyway, noting, "You can’t help but get better as an actor working with scripts like that... we got spoiled." The New York Times' chief television critic, James Poniewozik, lauded the show's enduring relevance in 2022, highlighting its blend of comedy and drama as a precursor to modern "dramedies."
After "M.A.S.H.," Swit became a dedicated animal welfare activist, selling her "SwitHeart" perfume and memoir through her official website, with proceeds benefiting animal-related non-profits. She married actor Dennis Holahan, whom she met on "M.A.S.H.," in 1983; they divorced in 1995.
Born in Passaic, New Jersey, to Polish immigrant parents, Swit honed her craft at the American Academy of Dramatic Arts before years in touring productions. She arrived in Hollywood in 1969, making appearances in popular series like "Gunsmoke," "Hawaii Five-O," "Mission Impossible," and "Bonanza," before securing her career-defining role as "Hot Lips" in 1972. Swit consistently returned to the stage, starring on Broadway in "Same Time, Next Year" (1975) and "The Mystery of Edwin Drood" (1986), as well as various regional theater productions
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