To Be or Not to Be

Set in 1939 Warsaw on the eve of the Nazi invasion, To Be or Not to Be follows a troupe of world-class, though profoundly egotistical, actors led by the formidable husband-and-wife duo Joseph and Maria Tura. Their theatrical routine is shattered when the German blitzkrieg begins, transforming their stage into a battlefield of a different sort. The plot ignites when a young Polish pilot, Stanislav Sobinski, unwittingly entrusts a double agent, Professor Siletsky, with a list of Polish resistance members.

To prevent a massacre, the actors must utilize their greatest talents: costumes, makeup, and unwavering bravado. They orchestrate a series of high-stakes improvisations, with Joseph Tura taking on the roles of Nazi officials and even Hitler himself. The film expertly balances the tension of a spy thriller with the rapid-fire wit of a screwball comedy, as the troupe attempts to outmaneuver the bumbling but dangerous Colonel Ehrhardt and his Gestapo officers.

As the line between performance and reality blurs, the actors find that their vanity, once a mere character flaw, becomes their most effective weapon against a regime that demands total conformity. The film explores the resilience of the human spirit in the face of oppression, all while maintaining the sophisticated, light-handed direction for which Ernst Lubitsch was celebrated.

The core of the film is a daring assertion that satire and ridicule are the ultimate weapons against fascism. Lubitsch suggests that the Nazi regime is fundamentally a theatrical performance—one built on costumes, rehearsed gestures, and a fragile ego—and that the only way to defeat it is to perform better than they do. By portraying the Gestapo as buffoons who are easily fooled by ham actors, the film strips the oppressors of their power and aura of invincibility.

Furthermore, it celebrates the triumph of art over brute force. The actors, who are initially presented as superficial and self-absorbed, discover a higher purpose in their craft. Their willingness to risk their lives for Poland through the medium of theater elevates their "insignificant" profession into a noble act of resistance, suggesting that culture and humor are essential for survival in dark times.

Some critics view the film as a meta-commentary on Hollywood itself, where the "actors" are a stand-in for the film industry attempting to contribute to the war effort through artifice. Another perspective focuses on Maria's agency: is she actually having an affair with Sobinski, or is she simply "acting" the role of the unfaithful wife to maintain her husband's jealousy and competitive spirit? The film leaves her true feelings ambiguous, suggesting that for a great actress, life is just another stage.

To Be or Not to Be is considered a landmark in political satire. Released during the height of WWII, it broke the unspoken rule that certain tragedies were too immense for comedy. Its influence can be seen in later works like The Producers, Hogan's Heroes, and Inglourious Basterds, which also utilize humor to deconstruct fascist aesthetics. Over the decades, it has transitioned from a controversial failure to a widely recognized masterpiece, frequently cited as the pinnacle of the 'Lubitsch Touch'—a style defined by elegance, brevity, and sophisticated wit.

Contemporary 1942 audiences were polarized; many found the jokes about concentration camps and the bombing of Warsaw jarringly insensitive. However, modern audiences and critics (holding a 98% on Rotten Tomatoes) celebrate it for its bravery and structural perfection. It is now lauded as one of the funniest films ever made, with Jack Benny's performance often cited as his career best.