To Be or Not to Be (1942)

Introduction

Few films have dared to laugh in the face of tyranny with the audacity, intelligence, and finesse of Ernst Lubitsch’s To Be or Not to Be. Released in March 1942, during the darkest early days of World War II, the film stands as a singular achievement in cinematic satire—a work that blends comedy with political critique in a manner that feels both subversive and human.

Combining elements of screwball farce, romantic jealousy, and anti-Nazi espionage, To Be or Not to Be showcases the famed “Lubitsch Touch” at its most daring. That a comedy mocking Hitler could be this funny, timely, and emotionally resonant—without diminishing the seriousness of its backdrop—is a testament to Lubitsch’s mastery.

Plot Summary

Set in Nazi-occupied Warsaw, the film centres around a troupe of Polish stage actors led by the narcissistic ham Joseph Tura (Jack Benny) and his charming wife Maria Tura (Carole Lombard). The company, originally rehearsing a satirical play called Gestapo, is forced to shelve their production when the German invasion makes its subject matter too dangerous.

Maria, meanwhile, begins a flirtation with a young Polish pilot, Lieutenant Stanislav Sobinski (Robert Stack), who becomes part of the resistance. When a fellow Pole, the traitorous Professor Siletsky, threatens to betray members of the underground to the Nazis, Sobinski parachutes into Warsaw and seeks help from the Turas.

What follows is a thrilling—and hilarious—series of mistaken identities, impersonations, and theatrical subterfuge. The actors must use their talents not just to entertain but to deceive the Nazis and save lives. At the centre of it all is Tura, who transforms from a vain blowhard into a reluctant hero, thanks in part to his own gift for mimicry and stagecraft.

Performances

Jack Benny, known primarily for his radio comedy persona, gives what may be his finest film performance. As Joseph Tura, he hilariously skewers actorly egoism—his obsession with whether people leave during his Hamlet soliloquy is a recurring and priceless gag. Yet beneath the bravado, Benny also finds vulnerability and quiet courage, giving the character depth that lingers.

Carole Lombard, in her final screen role before her tragic death in a plane crash shortly before the film’s release, is luminous. As Maria, she exudes both elegance and wit, and her comedic timing is flawless. She plays the part with a knowing sparkle—sly and confident, yet grounded. The chemistry between Lombard and Benny, tinged with professional rivalry and romantic friction, adds an extra dimension.

Robert Stack as Sobinski is earnest and straight-laced, serving as a contrast to the theatricality around him. Supporting players like Felix Bressart and Lionel Atwill add wonderful texture: Bressart’s "Shylock" monologue late in the film, delivered with trembling sincerity, is one of the most quietly moving moments in the entire picture.

Direction and “The Lubitsch Touch”

This film might represent the most razor-edged application of the “Lubitsch Touch” ever put to screen. Where Lubitsch typically trafficked in sophisticated sexual farce and romantic misunderstandings, To Be or Not to Be walks a much more treacherous tightrope: how to joke about Nazis, betrayal, and national trauma without trivializing them.

Lubitsch’s genius lies in the way he wields comedy not to soften evil, but to expose its absurdity and vanity. The Nazi officers are not harmless buffoons—they are dangerous men—but their slavish adherence to pomp, protocol, and appearances makes them ripe for ridicule. Hitler himself is reduced to a pathetic off-screen presence, mocked with the now-famous line:

"So they call me Concentration Camp Ehrhardt?!"

There’s no need for the satire to be overt—Lubitsch lets tone and irony do the heavy lifting. This is never slapstick for slapstick’s sake. Every laugh is barbed, every gag in service of undercutting fascism’s self-serious facade.

Themes and Subtext

Theatre as Resistance

The film is fundamentally about the power of performance—not just to entertain, but to survive. The actors don’t merely play roles on stage; they adopt disguises and personae to fight tyranny. Lubitsch suggests that creativity, even vanity, can be turned into acts of resistance.

The Absurdity of Evil

By mocking the Nazis’ obsession with authority and image, the film reduces their aura of invincibility. The ridicule doesn’t make them less dangerous—it strips away the mystique and shows their hollowness.

Art and Identity

Beneath the political satire, there’s a poignant exploration of actors and identity. Tura’s journey from preening narcissist to courageous impersonator speaks to the redemptive possibilities of art.

Romantic Jealousy and Personal Insecurity

Amid the intrigue, the film maintains a strong comedic thread about marital misunderstanding and professional rivalry. Joseph’s ego bruises not only at the thought of Hitler’s atrocities but at the idea that someone left during his monologue for a rendezvous with his wife.

Visual Style and Setting

Despite the heavy themes, To Be or Not to Be maintains a sleek and efficient visual style. Cinematographer Rudolph Maté gives the film a crisp, theatrical polish that suits its dual setting: both backstage and behind enemy lines. The sets, while modest by wartime standards, are evocative of wartime Warsaw and cleverly stage-like, reinforcing the film’s central metaphor.

The costume design subtly supports character and plot: the actorly uniforms, Nazi disguises, and Maria’s glamorous attire all play into the film’s play-within-a-war structure.

Reception and Legacy

At the time of its release, the film was controversial. Some critics felt it was in poor taste to joke about Nazis while the war raged on. Others couldn’t reconcile the comedic tone with the tragic realities of the era—particularly given Carole Lombard’s sudden death before the premiere.

But time has been more than kind. To Be or Not to Be is now considered a classic, studied and admired for its courage, wit, and impeccable construction. In 1996, it was selected for preservation by the National Film Registry. Directors from Billy Wilder to Mel Brooks (who remade the film in 1983) have hailed it as a masterstroke of tone and timing.

Final Verdict

To Be or Not to Be is a daring, elegant balancing act—satirical but sincere, outrageous yet humane. That it manages to be both a rollicking comedy and a potent critique of fascism is no small feat. Under Lubitsch’s guiding hand, it achieves the seemingly impossible: it makes us laugh without ever letting us forget what’s at stake.

It is perhaps the clearest proof that humour, wielded with intelligence and conviction, can be a powerful weapon against cruelty and oppression.

A fearless satire and a comic gem—brilliantly acted, tightly scripted, and uncommonly wise.