To Be or Not to Be

"To Be or Not To Be" doesn't trivialize the barbarity of the Nazi regime as much as it ennobles art and gives an aura of metaphysical importance to laughter, as the main characteristic of the reasonable person. It's precisely because Ernst Lubitsch could laugh at the Nazism that one shouldn't underestimate the sadness and terror that devoured his soul. One could say the same about Chaplin's "Great Dictator", more focused on the inner heroism of the little people while Lubitsch' movie is a love letter to artists, and the work of a true one.

Lubitsch grew up in Berlin and became an acting sensation after World War I before becoming one of the most promising directors of Hollywood. A precocious talent with a sense of sophistication that would be known as the 'Lubitsch touch', he was probably under the influence of that boost of creativity and flamboyance that made Berlin an artistic Mecca in the early 30s (like in Bob Fosse's "Cabaret"). His film opens on Warsaw, a more suitable place for free art once Germany surrendered to swastikas. And as if he anticipated the criticism over his subject, the story features a play named "The Gestapo" and satirizing the Nazis. During a rehearsal, the man playing Hitler (Irish actor Tom Dugan) delivers a hilarious and unexpected "Heil myself". The line gets cut by the director who makes it a matter of ethics not to make Nazis funny, much to the actor's reluctance.

Basically, Lubitsch asks us the question: should we sacrifice a good line for the sake of seeming decency? How many times haven't we felt the necessity to cross the barrier of good taste because it was so tempting. So the line is censored because of the risk of offending Hitler and when the Germans come on a day of September 1939, the play is cancelled once and for all. The situation resonates like Churchill's parable about war and dishonour, fearing the Nazis is the dishonourable attitude, even when meant to play safe, you're never safe with them, so let's just use your best weapon, guns or gags it doesn't matter. While I was wondering if Lubitsch would have been as loose on the Nazis if he knew about the Camps, I was hiding a chuckle because the line "so they call me Concentration Camp Ehrhardt" kept springing to my mind. Should I feel guilty?

No less than for any movie that dared to turn the subject into laughing matter, from Donald Duck's "Der Fuerher's Face" to "La Vita e Bella". It's because Nazis were human that their crimes were horrific, it's because they were human that they should be mocked. Art is the triumph of the intellect over the brutal force, the sensitivity over cynicism, it can be sophisticated and fancy but it can't really do without powerful sentiments, this is why the film makes a good use of Shakespeare's lines (borrowed from "Hamlet" and "The Merchant of Venice") and even more why it focuses on a married couple, the greatest actress of Poland Maria Tura (Carole Lombard) and her hammy husband Joseph (Jack Benny). The film opens with a sort of vaudevillian mood where Maria exploits her husband's "Hamlet" soliloquy to bring the handsome aviator Sobinski (Robert Starck) to her room, the running gag is not overused so Marie doesn't appear too cheap and Joseph too dumb.

There's a fine balance between the romance and the screwball situations and they all get along with the intricacies of a plot that involves a sinister but seductive spy named Professor Siletski (Stanley Ridges), who proposes Maria to become an agent. Meanwhile, the troop must absolutely capture the man, confiscate the documents that contain names of Polish Resistant members and get rid of the spy, and this is where their Nazi costumes get quite handy. So we see Jack benny and all his friends impersonating Nazi officers and even Selitski with variable effects, sometimes with the right timing, sometimes a delay force them to rewrite the script. In a sort of meta-referential nod to his own art, Lubitsch directs actors playing directors, actors and writers, proving that sometimes a good act can be a matter of life and death. Hammy too much and your cover is blown if not your head. Maria proves to be a more restrained actress so she can dodge the Nazis' flair, same can't be said about Joseph and Benny's antics endanger the film's credibility in their exaggerated audacity, the man pushes his luck so often it's a wonder how he did survive.

The film also suffers from a series of contrivances that happen all too conveniently near the end leading to a rushed climax only redeemed by the hilarious ending. Still, the real black spot in the film's legacy is of course the haunting of Carole Lombard's memory. The actress died in a plane crash a few weeks after the film's release, the USA had just entered the war and she was collecting bonds during a tour across America. In a way, she was a victim of that war though she lived far from the ruins and ashes of Poland, her death cut one of the most promising careers short and made Gable so inconsolable he joined the war too... I avoided that film for a long time because of that story, it had saddened me a lot even more because I happen to be afraid of flying.

I couldn't believe how many times she referred to flights during the film, the simple fact that she loved an aviator gives it an eerie feeling, it's just as if the film was doomed to be clouded by tragedy, individual and universal. However, and that might be the secret of "To Be or Not to Be", It's all fiction, it's not reality, the film was criticized when the war was still raging and now it's a classic, once reality is as dead as fiction, what remains is the essence of art.as

In celebrating the 75th anniversary of the release of Casablanca, it is easy to overlook another anti-Nazi film, Ernst Lubitsch's "screwball" comedy To Be or Not To Be, a film that skewered the Nazi cause with equal effectiveness. While not as dramatic or filled with memorable lines and patriotic songs, To Be or Not To Be, like Casablanca, the film features two main Hollywood stars, Carole Lombard and Jack Benny and a love triangle in which romance must be subordinate to a greater cause. Set in Poland just before the German invasion of September 1, 1939, the film opens as a mustachioed man bearing a close resemblance to German Chancellor Adolf Hitler is seen walking alone in the streets of Warsaw.

This Hitler, however, turns out to be the actor Bronski (Tom Dugan), a bit-player impersonating the Fuhrer in a play being put on by a Polish theatrical group. Is Hitler "by any chance interested in Mr. Maslowski's delicatessen?" teases the narrator in the opening segment. "That's impossible—he's a vegetarian!" Responding to all the "Heil Hitler" salutes, Bronski asserts "Heil myself" as he walks through an open door. Bronski is playing a secondary role to the famous Polish actor Josef Tura, played by Jack Benny, then a radio star whose trademark straight face and deadpan humor marks the film.

Tura's wife Maria, also a popular Polish actress, is played by Carole Lombard who was to meet a shocking death in a plane crash in January, 1942 shortly after the film was completed. In the film, Maria is two-timing her actor husband by romancing a young flyer Lt. Sobinski (Robert Stack) who falls "head over heels" for the actress. The running gag in the film is that whenever Josef is playing Hamlet and delivers the line, "to be or not to be," it is a signal for Sobinski to get up from his seat in the theater and go backstage to meet Maria in her dressing room. It appears that Tura is more upset about his speech being interrupted than what happens behind the curtain.

The sudden Nazi invasion, however, puts all romantic trysts on the back burner and the mood shifts to solemn. The plot now becomes more involved with espionage and patriotism than acting when Sobinski, now a pilot for the Royal Air Force, discovers that respected Polish professor Siletski (Stanley Ridges) is a double-agent working for the Nazis. When the Lieutenant returns to Warsaw to eliminate the traitorous professor, Maria and Josef team up to help by launching an elaborate charade to trick the unsuspecting Nazis. While the film takes its name from the famous line in Hamlet, Shylock's monologue from the Merchant of Venice, spoken in front of Nazi swastikas, is recited by Jewish actor Felix Bressart, "Have we not eyes? Have we not hands, organs, senses, dimensions, attachments, passions?" he asks the Nazis, "If you poison us, do we not die?"

It is a noteworthy plea for tolerance in the days of rabid anti-Semitism even though the line "Hath not a Jew eyes?" is not spoken. According to Thomas Doherty writing in Tablet magazine, "the word "Jew" was seldom heard on the Hollywood screen, even in war-minded scenarios where the topic of anti-Semitism was front and center." He also quotes film historian Lester D. Friedman saying that "The studio bosses were always—even at this point—afraid of thrusting Jews into the spotlight." Whatever the reason, To Be or Not to Be is marked with the genius of one man, the great Jewish director Ernst Lubitsch who said, "What I have satirized in this picture are the Nazis and their ridiculous ideology," and that the tone and temper of the film "cannot leave any doubt in the spectator's mind what my point of view and attitude are toward these acts of horror."

While the film is a broad and biting satire, from the beginning of production in November 1941 to its completion on December 24th, however, events made sure that To Be or Not to Be, as well as Charles Chaplin's The Great Dictator, was no longer a laughing matter.

A number of interest points here. A brilliant premise. Material that was daring at the time, that one is amazed at what it got away with even if some of it may be an acquired taste. That it was the final film of the lovely Carole Lombard, who died far too young in a plane crash not long after with much more to give. And that it was directed by Ernst Lubitsch, a personal favourite of mine who had one of the most distinctive directing styles for any director often cited as "the Lubtisch touch".

Found 'To Be or Not to Be' a truly fabulous film, have seen many very good to masterpiece films recently (as well as inevitably some duds) and this stands out among the very best of them. What could easily have been tasteless and offensive, with what it was satirising and considering the time, turned out to be one of the funniest comedies seen recently and ever actually and wartime comedies have seldom been funnier or more original. It also contains some of the best work of all involved. In front of and behind the camera, am aware that sounds very cliched but to me it's true.

'To Be or Not to Be' looks great, immaculately yet atmospherically designed with a real sense of period and beautifully shot without being too glamorous. The music is neither too jaunty or low key, while Lubitsch's direction is one of 'To Be or Not to Be's' biggest stars in its sophisticated style that one can recognise from anywhere.

Regarding the script, it is intricate and full of sharp wit and hilariously quotable lines that as mentioned above in my first paragraph when talking about the material being daring. The opening gag is hysterical and one that one does not expect, while the running joke concerning Robert Stack as Maria's (played by Lombard) admirer is an example of a running joke that doesn't get old prematurely and doesn't get repetitive, dangers with running jokes. 'To Be or Not to Be' is not just non-stop hilarity though, there is also surprising pathos that one doesn't always get in comedy and is genuinely poignant. Affectionate and inspiring are further things to describe and never had any problem with the pace.

Lubitsch's direction is one of two particularly wonderful things about 'To Be or Not to Be'. The other is the simply sublime cast, showing Jack Benny at his funniest and Lombard being an absolute joy in all senses (found her touching too but a lot of it was to do with it being her final film and what a talent she was). Stack is amusing and charming and Stanley Ridges and Sig Ruman are great fun.

Altogether, fabulous. Even in films that fit in the "loved it" category, improvements can be pointed out in order to be balanced, but in the case of 'To Be or Not to Be' there is nothing to fault. 10/10

There is a famous review of this film by the late Sunday Times critic, Dilys Powell which begins 'Is the joke funny?'... what Miss Powell was getting at was that, given the horror of the Holocaust, it is appropriate to laugh at the Nazis. The answer is, ultimately, irrelevant to the viewing of this modest masterpiece.

Lubitsch was, by this time, coming to the end of an exquisite career that defined the nature of sophistication in 'light' cinema. 'To Be or Not To Be' skips lightly over all of the minefield of a subject like this and it is difficult or impossible to think of any other filmmaker who might have managed it (if you look at Mel Brooks' limp remake, you can see why).

In 1996, I presented a massive season of 'the greatest' films in Belfast for the centenary of cinema - 250 titles in 9 months. Of all of them, this was the film which got the greatest ovation - about 5 minutes with a nearly full house standing and applauding! They may have applauded for many reasons, but here are certainly some of them...

The very complicated narrative is presented virtually flawlessly and the comedy is never allowed to hold up the narrative. The principle actors - Carole Lombard (breathtakingly beautiful) and Jack Benny in particular, but many of the supporting cast as well - throw themselves into the affair with a gusto that is completely infectious. Apart from the satirical aspect of the story and the way in which Hitler and the Nazis are mercilessly ridiculed for their authoritarianism and the fear which is their only motivator, the film pokes gentle fun at the vanity of actors in a warm and happy manner. Finally, and most important, is the notion of farce. Farce rarely works in the cinema, but here it does, and in the grand manner - just look at how many times the situation regarding Professor Siletsky changes profoundly during the film - it is dizzying - yet the characters manage to come up with (often self-defeating or inappropriate) schemes on every occasion.

This is a wonderful work that, I have no hesitation in saying, is absolutely vital for anyone who wants to really understand the glory of the cinema. But to answer Dilys Powell's question... yes, the joke is deliriously funny.

Comedies rarely stand the test of time - this one does: one of the funniest films I have ever seen.

When I was 16 (20 years ago, sigh...), this was re-released for a short time in a local art-house cinema, and my father insisted I go watching it with a friend. Well, teenagers don't normally line up to see 50 year old black and white comedies, but - man, was I glad I did!

This is a pitch black comedy that feels as fresh today as it must have then; in fact, this must have been kind of a shock in 1942. There are no cheesy clean characters or cringe-worthy lines: this is a firework of fast, witty dialogue with an edge and the sexiest, cleverest (and most morally ambiguous) female protagonist I have ever seen in a film before the "New Hollywod" era.

Even the structure and the way the story evolves are very modern; there are flashbacks and twists and turns that might be very common in contemporary films but must have seemed almost "avant-garde" at the time.

The biggest fun, of course, is how Lubitsch takes the pi** out of Hitler's blind, fanatic followers. I don't believe the Nazis have ever been mocked better than in this comedy masterpiece (and I only hope old Adolf has seen it, too). Mel Brooks' remake is not bad, but the original is simply killer.

See it, and then see it again (and again).

Priceless. 10 out of 10

Favorite films: http://www.IMDb.com/list/mkjOKvqlSBs/

Lesser-known Masterpieces: http://www.imdb.com/list/ls070242495/

Favorite Low-Budget and B-Movies: http://www.imdb.com/list/ls054808375/

Favorite TV-Shows reviewed: http://www.imdb.com/list/ls075552387/