Synopsis
During the Nazi occupation of Poland, an acting troupe becomes embroiled in a Polish soldier's efforts to track down a German spy.
1942 Directed by Ernst Lubitsch
During the Nazi occupation of Poland, an acting troupe becomes embroiled in a Polish soldier's efforts to track down a German spy.
Carole Lombard Jack Benny Robert Stack Felix Bressart Lionel Atwill Stanley Ridges Sig Ruman Tom Dugan Charles Halton George Lynn Henry Victor Maude Eburne Halliwell Hobbes Miles Mander Rudolph Anders Paul Barrett Sven Hugo Borg Danny Borzage Buster Brodie Peter Caldwell Alec Craig Helmut Dantine Jack Deery Leslie Denison James Finlayson James Gillette Stuart Hall Leyland Hodgson Shep Houghton Show All…
At være eller ikke være, Jeux dangereux, Sein oder Nichtsein, Να ζει κανείς ή να μη ζει, Vogliamo vivere!, 生きるべきか死ぬべきか, Ser o no ser, Być albo nie być, Ser ou Não Ser, A fi sau a nu fi, Быть или не быть, Att vara eller icke vara, 사느냐 죽느냐, 죽느냐 사느냐, Да бъдеш или да не бъдеш, Být či nebýt, At Være eller Ikke At Være, Ollako vai eikö olla, להיות או לא להיות, Biti ili ne biti, Lenni vagy nem lenni, Vogliamo Vivere!, Būti ar nebūti, Olmak ya da Olmamak, Бути чи не бути, 你逃我也逃
87/100
A proud, important joke mixed and matched for an hour and a half, but when its subject is so sinister and its execution so multifaceted in delivery and tone balances, it doesn't really matter that each comedic springboard is built off of the same root feelings of anger and frustration. Ernst Lubitsch is pissed off but entirely confident in his storytelling, never relenting from harsh realities but still sly enough to make a smile and a tear one and the same. If any one moment shifted towards the absurd, Lubitsch would dial it back for a more humane, grounded segment, and in a few sections, he even shook the two flavors and moods together for an unpredictable end result…
"What have you to say for yourself now? Here is a man with a beard, and you didn't even pull it!"
I’m not really sure what to say about this one that hasn’t been said already. It holds up so staggeringly well that I found myself laughing nearly every five seconds. For a comedy about WWII (made during WWII), it certainly does not tiptoe around making light of its subject matter. “What he did to Shakespeare, we are doing now to Poland!” Daring for its time, to say the least.
Jack Benny is a goddamn riot as Joseph Tura, a stage actor who’s less concerned about a man trying to woo his wife than he is about the fact that the guy is getting up to do it during his big monologue. His costar Carole Lombard and director Ernst Lubitsch were both…
87
"Well, Colonel, all I can say is... you can't have your cake and shoot it, too."
One of the most well-written anti-war comedies in cinema history, To Be or Not to Be manages to land almost every joke non-stop during its runtime while pronouncing its unmistakable anti-war stance that's as relevant 80 years later as it was then. Roberto Benigni, Lina Wertmüller and Taika Waititi should definitely thank this movie for existing.
Depicting tears through laughter, To Be or Not to Be chronicles a Polish theatrical troupe's equal parts intense and hilarious journey of fighting Nazis. It's the ingenious ways of combining the dream-chasing ordeals of struggling actors with the absolute atrocity of war crimes that give this movie a distinctive if somehow controversial touch that eventually stands the test of time.
Ernst Lubitsch's decision to…
“Naturally it's all very attractive and tempting. But what are we going to do about my conscience?”
Film #9 of Project 40
”They named a brandy after Napoleon, they made a herring out of Bismarck, and the Fuhrer is going to end up as a piece of cheese!”
This is how it should be done. Every now and then you find a movie that you can watch over and over without getting tired or bored, for me To Be or Not To Be is one of those films. A charming and delightful little comedy from Ernst Lubitsch set in the Nazi occupied Warsaw which makes fun of Nazis better than any other satire, honors actors who are passionately working to bring us lively theaters and like other Lubitsch movies bombards us with polished, highly amusing and elegant…
“What he did to Shakespeare we are now doing to Poland!”
I’ve seen this twice and the 1983 remake once yet it still has me guessing at every turn. The narrative is digestible yet unpredictable. Paced perfectly with densely-packed fortuitous plot wound around tight wry dialogue which is leaner than a side of beef. I am flawed as to how this film feels as if it were written with a hundred years of hindsight.
An intrinsic instalment in cinematic culture and language linking premises of The Guardsman to the ambitious alternative history of Inglorious Basterds. No wonder I adore a film which shares a writer and director with Ninotchka; both political comedies with immense wit only matched by their courage to address the hypocrisies of their time.
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…