To Be or Not to Be walks a complicated tightrope – released in 1942, the World War II set comedy, even by today’s standards, could be called politically incorrect. Satirizing the horrible situation over in Europe (specifically Poland), co-adapter and director Ernst Lubitsch knew, like Charlie Chaplin before him (The Great Dictator), that it was vital to be able to laugh in the face of Hitler and the Nazis, both alleviating the tension of audiences back home with humour while also bringing the Axis power down a notch, highlighting their absurdly ridiculous doctrine and beliefs.
A play, or should I say plays within a play, the story follows an acting troupe in Poland managed by producer/director Dobosh (Charles Halton). Starring the husband and wife team of Joseph (Jack Benny) and Maria Tura (Carole Lombard), they are currently bringing Shakespeare’s “Hamlet” to life. Preparing for their next play during the day, “Gestapo” is a satire revolving around Hitler and his cronies, comedy coming from the extensive use of “Heil Hitler”, an inquisition of a young child who the Nazis are worried will not talk, and a joke about how “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!”. Of course, Maria wants to wear a fashionable dress in a concentration camp scene much to the chagrin of Dobosh, though Greenberg (Felix Bressart), the lowly Jewish actor who desperately hopes of playing Shylock one day, suggests, “It’ll get a terrific laugh” – his go-to catch phrase. Other problems arise, with Dobosh equally unimpressed by Bronski’s (Tom Dugan) Hitler, saying, “I don’t know. . . it’s not convincing. To me, he’s just a man with a little mustache”, to which the makeup man replies, “But so is Hitler” – a line that really hits home.
Soon, the Nazis march into Poland and the company disbands, unable to perform under the more than gloomy circumstances. Taking a dramatic turn, this comedy film becomes more of a spy thriller when a Polish pilot, Lt. Stanislav Sobinski (Robert Stack), who has left Poland (wholly enamoured with Maria, I must add) to aid the British Air Force, learns that a Polish resistance worker, Professor Alexander Siletsky (Stanley Ridges), who has been helping the British, is actually a Nazi mole.
Returning to Poland to thwart the man, Sobinski turns to the only person he can think of – Maria, for aid. Soon, the troupe are helping the Lieutenant and the Polish Underground, attempting to deceive the deceiver and his Nazi friends. It is a complicated proposal, with the whole of the Polish Underground at stake – will the rag tag team of actors be able to save the day?
Not received overly well at the time, many reviews highlighted the callous topic of the film. Clearly frustrated, Lubitsch wrote an open letter responding to a Philadelphia Enquirer review, explaining, “What I have satirized in this picture are the Nazis and their ridiculous ideology. I have also satirized the attitude of actors who always remain actors regardless how dangerous the situation might be, which I believe is a true observation. It can be argued if the tragedy in Poland realistically portrayed in To Be or Not to Be can be merged with satire. I believe it can be and so do the audience which I observed during a screening of To Be or Not to Be; but this is a matter of debate and everyone is entitled to a point of view. . .”. Even Benny’s father walked out of the film after seeing his son in Nazi uniform – though Jack convinced him to return, and he loved the final product. And, of course, over time opinions have changed, and the motion picture is now considered a classic.
Also referencing his ribbing of actors, Lubitsch perfectly captures this perspective (the fickle need of actors to be loved and adored). A clever scenario, the first time Maria and the Lieutenant meet, her plan is for him to come to her dressing room upon hearing Hamlet’s soliloquy, “To be or not to be”, though his exit throws her husband’s performance right off. Returning to vent, the conflicted actress attempts to console her man, “Maybe he didn’t feel well. Maybe he had to leave. Maybe he had a sudden heart attack”, to which Joseph replies, “I hope so”. Maria adds, “If he stayed he might have died”, finally slightly relieved, he ends the conversation with, “Maybe he’s already dead! Oh darling, you’re so comforting”. Of course, Joseph, constantly in costume, attempts to grow his ego by referencing his name to the Nazis he is trying to fool. . . ‘never heard of him’ is a typical type of answer, the only one to know of him is Colonel Ehrhardt (Sig Ruman), his appraisal of his work – “What he did to Shakespeare we are doing to Poland”. Actually, another edgy line that must be mentioned surrounds Ehrhardt’s nickname – Concentration Camp Ehrhardt. . . Joseph learns of this as he is pretending to be the Colonel, and in a moment of inspiration adds, “Ha ha. Yes, yes. . . we do the concentrating and the Poles do the camping”.
Not surprisingly, co-writer Edwin Justus Mayer’s career started not in the movies, but rather as a playwright (and journalist) – the narrative’s plays within a play scenario very reminiscent of what is seen on the stage. And, much like a quality Broadway production, the actors found to star in it are on the top of their game. Be it the main protagonists (Benny and Lombard), the wily and serious Siletsky (Stanley Ridges), or the comedic buffoonery of Colonel Ehrhardt (Sig Ruman) and his auxiliary Captain Schultz (Henry Victor), each actor brings life and creativity to their respective roles.
Sadly, some of you may know the tragedy that beset the film during post-production. Lombard, returning from her home state of Indiana (after raising more than two million dollars in war defence bonds) along with her mother and friend Otto Winkler (her husband Clark Gable’s press agent), wanted to make it back to Los Angeles quicker – and asked the pair to fly instead of take the train, which they already had tickets for. Though neither liked flying, they agreed to a coin flip to decide, and Lombard fatefully won. . . the plane crashed, killing all onboard. Eerily, in the movie, Lombard filmed a scene in which she says, “what can happen on a plane?”, which was edited out of the final product out of respect. It was a horrid end to one of the brightest stars of the 1930s, at only thirty-three years of age. Yet thankfully, this, one of her best roles, survives, as she was never meant to play the part. Miriam Hopkins was cast, though left the project after having issues with Benny (as she thought her character was outshone by his – the so-called straight woman to his comedic character).
A rip-roaring premise, To Be or Not to Be is a comedy for the ages (and a fascinating piece of World War II era cinema). Thriving despite the weight of its heavy subject matter, it is impossible not to laugh out loud at many times throughout. . . yet, it works equally well as a quasi spy flick. Written with immense precision – catch phrases, jokes, and throwaway lines told earlier in the film come back in magnificent ways, just one example being Jewish actor Greenberg finally getting his chance at playing his long desired role of Shylock. With subtle touches, eagle eyed viewers will notice another name on Colonel Ehrhardt’s appointment book – Schindler, of course, it is a reference to Oskar (who was brought to vivid life in Steven Spielberg’s Schindler’s List). Be advised – you won’t walk out on this one, “it’ll get a terrific laugh” out of you.