In occupied Poland during WWII, a troupe of ham stage actors (led by Joseph Tura and his wife Maria) match wits with the Nazis. A spy has information which would be very damaging to the Polish resistance and they must prevent it's being delivered to the Germans.Written by
Ken Yousten <firstname.lastname@example.org>
Walter Wanger was slated to produce this film. However, when Wanger's busy schedule intervened, Alexander Korda took over, and reportedly contributed $100,000 of his own money to this production. See more »
During the flight to Warsaw, the wire holding the obviously model airplane is visible. See more »
Lubinski, Kubinski, Lominski, Rozanski, and Poznanski. We're in Warsaw, the capital of Poland. It's August 1939. Europe is still at peace. At the moment, life in Warsaw is going on as normally as ever. But, suddenly something seems to have happened! Are those Poles seeing a ghost? Why does this car suddenly stop? Everybody seems to be staring in one direction. People seem to be frightened, even terrified! Some flabbergasted! Can it be true? It must be true! No doubt! The man with ...
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In the German version there are two changes made to the original score: first, with the Germans marching into Warsaw we hear the fanfares of the Deutsche Wochenschau (i.e. the German News Reel) instead of "normal" music. Then, during the opera scene we hear the Nazis singing all three verses of "Deutschland, Deutschland über alles" in the background. However, in the Third Reich it was common (and was thus later inserted into the German sound track) only to play the verse one, directly leading into the "Horst Wessel Lied", which was something like the official party anthem. See more »
One of the great romantic/satirical comedies of all time
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.
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