It is often believed that in period films, art direction and production design must create aesthetics that faithfully reconstruct the historical reality in which the narrative is set. However, when it comes to fiction, the subjectivity of the creative team always prevails, especially since the main objective of many of these films is to appeal to a large audience. Above and beyond accuracy, verisimilitude is sought; that is, even if what is shown is not true, it should appear true.
The objection arises when it's assumed that for a large part of the audience, the film will be their only and most impactful contact with the historical period in question. In other words, even without a signed contract guaranteeing historical accuracy, there is a tacit commitment to reconstructing certain realities that, were it not for cinema, would be forever forgotten. Where, then, is the balance? How far should one go from truth to plausibility? The makeup and hair department may hold the answer.
The case of M*A*S*H (1970), directed by Robert Altman, exemplifies how to achieve a balance between accuracy and verisimilitude. The film depicts life in a war hospital during the Korean War in the 1950s, but with a countercultural perspective from the 1960s. This means that the war is not seen as the ideal opportunity for glorifying heroism, but rather is portrayed with an ironic tone characteristic of the hippie movement and pacifism. Thus, although the sets are appropriate to the historical period in which the story takes place—the 1950s—the hairstyles are those that people would have worn in the 1960s. In this way, a period comedy manages to resonate with the reality of the audience for whom it was intended.