Vogliamo vivere!

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.

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.

Ernst Lubitsch made films that winked at you. Sophisticated spectacles, his comedies didn't shout their jokes, but smuggled them in like contraband, hidden in innuendo, implication and the art of the well-timed pause. In 1942, with 'To Be or Not to Be', Lubitsch made perhaps his boldest gesture yet: a screwball comedy about Nazis, treason and theatre, with Jack Benny and Carole Lombard at the helm and death waiting in the wings.

A cracking comic-caper, it follows a troupe of Polish actors who find themselves performing the roles of their lives- not on stage, but in Nazi-occupied Warsaw. When a young pilot is caught up in a spy plot, the troupe leaps into action, donning disguises, bluffing Gestapo officers and improvising as if their lives (and country) depend on it. At the centre is Benny's Joseph Tura, the pompous Hamlet-in-residence, and Lombard, as his wife Maria, luminous and quick-witted in what was sadly her final screen role.

The film effortlessly juggles tones. One moment it's pure farce- theatrical egos, slippery identities and a Hamlet with more flair than sense- and the next, it glances at real peril with a surprisingly steady gaze. Beneath the laughs, there's a pointed satire about authoritarianism, vanity and the roles people play to survive. The dialogue crackles with razor-sharp wit, every line balanced like a dagger on the edge of a laugh. Whether it's Benny's oblivious grandiosity or Lombard's wry deflections, Lubitsch keeps the script dancing- light on its feet, but never light on substance.

That Lubitsch made this film at the height of the Second World War is nothing short of astonishing. While Hollywood largely played it safe, he aimed straight for the absurd heart of fascism, daring to laugh. But this isn't mockery for its own sake- Lubitsch understood that ridicule, when wielded with precision, can be a subversive weapon. His satire is never cruel, but it is fearless: mocking vanity, the ridiculousness of the Nazi ideology, exposing cowardice; reminding us that even in the darkest times, a well-delivered line- or a perfectly timed pause- can carry a kind of truth that outlasts bombs and bluster.

Visually, the film is no slouch either. The production design conjures a grand theatrical world, full of velvet curtains, dressing rooms and shadowy corridors. Rudolph Maté's cinematography adds a crisp elegance, framing scenes with the same precision Lubitsch brings to the dialogue. It's handsome without being showy, stylish without upstaging the script; perfectly suited to the unfolding farce.

The cast is uniformly excellent, but it's Benny and Lombard who give the film its centre of gravity- or, rather, its comic orbit. Benny, one of the all-time comedic greats, leans gleefully into Joseph Tura's preening vanity, delivering a performance that's both absurd and oddly endearing. He plays a man desperate to be taken seriously, even as the world refuses to play along- a joke that never stops landing.

Lombard, by contrast, is all grace and mischief. Her Maria is a master of timing, charm and quiet control. She brings a knowing sparkle to every scene she's in. Sadly, Lombard would die before the film finished post-production- in this way it acts as a sterling swansong for a cinematic legend. Around them, the supporting players- from Sig Ruman's delightfully blustering colonel to Robert Stack's earnest pilot- flesh out a world where everyone, it seems, is playing to the gallery, even when the stakes are deadly.

Ernst Lubitsch's 'To Be or Not to Be' is a marvel- a film daring to be funny when all signs point to despair. It's sharp, silly and strangely stirring, a comedy that looks evil in the face and responds with a raised eyebrow and a perfectly arched punchline. In a world too often content to play it safe, Lubitsch reminds us that the boldest laughs are the ones that speak the hardest truths. Strongly acted and beautifully shot, 'To Be or Not to Be' ultimately proves that in the face of tyranny, the best answer is always to be- to laugh, to fight and to defy.

Great comedy like Chaplin's Great Dictator, right in the middle of ww2 making fun of Hitler is amazing. Humor is so good on every level and I wish it was longer movie. Anyway, this is one entertaining and enjoyable movie if you aren't a Nazi.

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

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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/