To Be or Not To Be
1942 Directed by Ernst Lubitsch
Synopsis
During the Nazi occupation of Poland, an acting troupe becomes embroiled in a Polish soldier's efforts to track down a German spy.
Cast
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A play with "political consequences"
By laughing in the face of tyranny.
Dictator as delicatessen.Was worried going in that after Ninotchka left me baffled that I might never find the "Lubitstch touch," but the film's rip roaring first act pretty much quelled any issues (even if there's then 15 minutes of dead air exposition that follows before picking right back up). Repetition of jokes—the soliloquy, "So they call me...," "SCHULTZ!"—only get funnier with each variation. But Lubistch also manages the most clever moment of pathos with the speech from Merchant of Venice, which fits in that strange moment of being delightfully funny while also a note of resistance. Perhaps more than a work against the Nazis—it's as anti-Germany as…
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So this is the famous Lubitsch touch that I have been hearing about. Actually this is not the first film I have seen of his (2nd at the moment) and it certainly will not be the last. European directors who come over to Hollywood tend to fair even better than those who were born and bred in the U.S. They have a distinct Euro quality and aesthetic that no groomed Hollywood director would ever know.
'To Be or Not To Be' starts out as portraying itself to be a grand spoof of Nazism and the impending second World War. Which much like Chaplin's 'The Great Dictator' was such a bold move for both films in 1940 and 42' respectively while…
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The best humorists will always be the ones who can laugh in the face of things that are absolutely devoid of any immediately apparent humor, no matter what "they" say. Ernst Lubitsch and the rest of the cast and crew of To Be or Not To Be are definitely a part of that group - I didn't think it was possible for a movie made in 1942 to be so refreshingly and boldly irreverent about the Nazi threat. And unlike, say, The Great Dictator, it doesn't fall into sentimentality or preachiness at the end - this is a true smartass's look at WWII, and it very rarely if ever compromises that point of view.
The whole cast is excellent (this…
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Ernst Lubitsch's brilliant satire is bitingly smart with razor-sharp dialogue and gloriously executed comedy - Melchior Lengyel and Edwin Justus Mayer's script is layered greatness. It stands as one of the best satires along with Dr Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964), and Jack Benny's versatile performance isn't much different from Peter Sellers' performance(s). Also featuring a charming final performance by Carole Lombard who died just before the film released. A film far ahead of its time in content and insight, hasn't aged a bit.
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http://i.imgur.com/pvniN4l.jpg <3
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Jesus Christ this is good. Works spectacularly well, both as comedy and as a pretty gripping spy thriller. "So they call me Concentration-Camp Erhardt!"
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http://i.imgur.com/pvniN4l.jpg <3
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To think that a German director made this in 1942 is incredible. Ernst Lubitsch was laughing in the face of tragedy. Although serious themes are dealt with and mild peril is encountered, I was in stitches throughout.
The Lubitsch Touch is in full effect.
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A play with "political consequences"
By laughing in the face of tyranny.
Dictator as delicatessen.Was worried going in that after Ninotchka left me baffled that I might never find the "Lubitstch touch," but the film's rip roaring first act pretty much quelled any issues (even if there's then 15 minutes of dead air exposition that follows before picking right back up). Repetition of jokes—the soliloquy, "So they call me...," "SCHULTZ!"—only get funnier with each variation. But Lubistch also manages the most clever moment of pathos with the speech from Merchant of Venice, which fits in that strange moment of being delightfully funny while also a note of resistance. Perhaps more than a work against the Nazis—it's as anti-Germany as…
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An absolute comedy masterpiece. The Lubitsch touch is strong with this one, and the end result is wonderful. Top-notch cast, especially Benny and Lombard, whose last screen appearance is a fitting farewell.
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Why It’s Essential — A late comedy classic in Lubitch’s career, as well as Lombard’s final film.
Why You’ll Want to Skip It — If a farce set in Nazi-occupied Poland gives you pause.
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Ya know I'm beginning to like this Lubitsch fella.
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So this is the famous Lubitsch touch that I have been hearing about. Actually this is not the first film I have seen of his (2nd at the moment) and it certainly will not be the last. European directors who come over to Hollywood tend to fair even better than those who were born and bred in the U.S. They have a distinct Euro quality and aesthetic that no groomed Hollywood director would ever know.
'To Be or Not To Be' starts out as portraying itself to be a grand spoof of Nazism and the impending second World War. Which much like Chaplin's 'The Great Dictator' was such a bold move for both films in 1940 and 42' respectively while…
-
Lubitsch masterfully weaves comedy into what could be a seriously dramatic tale. Made in 1942, in the deep of war, and holds up to this day as one of the best comedies, and one of the best thrillers.
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Ernst Lubitsch's brilliant satire is bitingly smart with razor-sharp dialogue and gloriously executed comedy - Melchior Lengyel and Edwin Justus Mayer's script is layered greatness. It stands as one of the best satires along with Dr Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964), and Jack Benny's versatile performance isn't much different from Peter Sellers' performance(s). Also featuring a charming final performance by Carole Lombard who died just before the film released. A film far ahead of its time in content and insight, hasn't aged a bit.