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‘To Be Or Not To Be’ Is Better Than Ever

‘To Be Or Not To Be’ Is Better Than Ever

When Ernst Lubitsch’s To
Be Or Not To Be
opened in the spring of 1942, just months after America
went to war, it was repudiated and even reviled by many critics who thought it
was in poor taste to juxtapose comedy against the backdrop of Poland’s invasion
by the Nazis. Black comedy wasn’t in fashion then, and the subject hit too
close to home for many audiences. Moviegoers were also upset by the recent,
tragic death of its star, Carole Lombard.    

Time has been kind to this magnificent film, which has just
been released on DVD and Blu-ray by the Criterion Collection. Looking back, we
can fully appreciate how daring it was for Lubitsch to tackle this material
when he did. What’s more, it’s one of the few films he originated rather than
adapting an established novel or play; this was how he chose to deal with the
Nazi threat. (Story credit officially goes to Melchior Lengyel and screenplay
credit to Edwin Justus Mayer, but it’s Lubitsch’s movie through and through.) As
David Kalat points out in his astute commentary track, the film isn’t so much
about Nazis overtaking Poland as a troupe of Polish actors invading the world
of Nazidom; therein lies its brilliance as a topical satire. The cast couldn’t
be better, from its incomparable lineup of character actors to its leading man,
Jack Benny, in his finest screen performance as “that great, great actor, Joseph Tura.” He and
Lombard (never more beautiful) work together splendidly.

The Criterion set has a number of extras, including a first-rate
French documentary about Lubitsch’s remarkable career, an amusing 1916 short
directed by and starring Lubitsch called Pinkus’s
Shoe Palace
(with an excellent piano score by Donald Sosin), and a pair of
radio shows from the Screen Guild Theater
series: a 1942 adaptation of the picture featuring William Powell, his wife
Diana Lewis, and original cast member Sig Ruman, plus a hilarious 1940 episode
featuring Jack Benny, Claudette Colbert, Basil Rathbone, and Lubitsch himself.
The accompanying booklet features a thoughtful essay by Geoffrey O’Brien and an
article Lubitsch wrote in The New York
to answer his film’s many critics.

I have had the joy of introducing this comedy to young
audiences more than once. When I started teaching at USC, fifteen years ago, I
closed out my second semester screening brand-new movies by introducing my
students to a classic, with its costar Robert Stack as our guest. They all
recognized him from television and he was a delightful guest, reminiscing about
one of the happiest experiences of his career. (It didn’t take a tremendous
amount of skill for him to act moonstruck over Carole Lombard—although as a
young man Stack was friendly with her husband, fellow skeet-shooter Clark

My class thoroughly enjoyed the film, although they denied
it one of its biggest laughs. In 1942, the mere sight of Jack Benny walking on
stage to deliver Hamlet’s soliloquy was a sure-fire laugh. Being unfamiliar with
Benny in 1998, they didn’t appreciate the incongruity; fortunately, they came
to appreciate his performance on its own terms. At the end of class that night,
a young man approached me and said, “I never would have watched a film like
that on my own, but I loved it. Now I want to get a copy of my own.” I could
have hugged him.

My second experience came just a few years ago when
filmmaker Edgar Wright invited Joe Dante and me to introduce a showing of To Be or Not To Be at Quentin
Tarantino’s New Beverly Theatre in Los Angeles, as part of Edgar’s series of
films he’d always wanted to see, but never had. There was a large and receptive
audience that night, but I was distracted by my daughter Jessie, who grew up listening
to Jack Benny radio shows but had never seen him onscreen. She loved the film…and
I loved watching her enjoy it.

This is a film worth sharing and revisiting on a regular
basis. It’s great to have a first-rate transfer and the accoutrements that make
every Criterion release so welcome.

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Lombard…acc to her good friend Orson Welles her plane was shot down from ridge by Nazi agents because several physicists onboard. Plane found full of bullet holes.


I have to admit that I've only seen the version starring Mel Brooks. One day I'll see the original.


Stack first met Lombard in 1933, when she stayed at his mother's house in Lake Tahoe while establishing Nevada residency in order to divorce William Powell. He later taught Carole how to skeet-shoot, and she became quite good at it:


I was so happy when Criterion announced this it was an instant order.

Now they just have to announce: The Student Prince, Ninotchka, & The Shop Around the Corner and I am all set.

Audrey Kupferberg

Thanks for your review! Our copy is on order. Did you know that frequent Lubitsch collaborator Samson Raphaelson was Lubitsch's first choice to write the screenplay? But Raphaelson found anti-Nazi humor in poor taste at that particular time, and politely bowed out.

Jeff Coe

"At the end of class that night, a young man approached me and said, “I never would have watched a film like that on my own, but I loved it. Now I want to get a copy of my own.” I could have hugged him."

I would've slugged him. What kind of "film student" is that? That's an attitude that's, sadly, much to prevalent.

Jeff Heise

I think one of the reasons this film works so well is that it was so personal for Lubitsch. According to biographer Scott Eyman, the Nazis used a caricature of the director as a propaganda tool to show a "typical Jew," and whether Lubitsch heard of this or not, what the Germans were doing not only to Jews but to Poles and other conquered peoples of Europe more than likely made him both angry and ashamed of his homeland, so why not fight back the best way he knew-make a film that shows both the absurdity and the horror simultaneously, and TO BE OR NOT TO BE did and still does, I think even better than Chaplin's THE GREAT DICTATOR. Benny was never better, as was Lombard and all the rest of the cast, and the dialogue still makes you laugh, makes you think and also cuts like a knife. That one director could make such a brilliant, savage satire of such a horrendous time and also make such gentle, sweet comedies like THE SHOP AROUND THE CORNER, NINOTCHKA, HEAVEN CAN WAIT and CLUNY BROWN is a testimonial to the genius of Lubitsch.

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