TO BE OR NOT TO BE
US, 1942, 99 minutes, Black and white.
Jack Benny, Carole Lombard, Robert Stack, Sig Ruman, Felix Bressart, Lionel Attwill.
Directed by Ernst Lubitsch.
A classic morale boosting comedy, very good propaganda from World War II. Written, produced and directed by silent and sound director Ernst Lubitsch. famous for his sophisticated comedies and deft ironic touch, the film is most entertaining as well as having a moral purpose.
The casting of Jack Benny as the would-be hero is a clever use of a popular American comedian. Carole Lombard as the heroine and a young Robert Stack puts in a youthful hero performance. The screen play is a blend of satire, romantic and farcical comedy but put within the situation of the invasion of Poland and the Resistance. The comic touches counter-balance the real war heroism and the dangers for members of the Resistance. At times the film expectedly veers to the explicit propagandising, but generally it achieves its purpose through the very style of the film. It still stands up well as entertainment.
1. The impact of the film in the forties? The atmosphere of the war. the European war, America's involvement? Its role as entertainment, as propaganda? Its impact now?
2. How satisfying and funny a comedy? The elements of the classic espionage film and the satiric touches from the comedy? The romantic complications and the sex farce conventions? How well were they blended with the comic touches and the espionage plot? The basic plot, situations, one-liners, farce, satire, parody? The mockery of pretensions?
3. The black and white photography, the Hollywood sets and the rather Americanised Poland and England? Satisfactory for a 1940's production? interiors and the suggestion of the way of life in Poland in the thirties? The presentation and styles of the stars?
4. The importance of audience knowledge of Poland and its Nazi invasion? The feeling about World War II and its threats, Hitler and his invasions, 1939-40? Patriotism, the rise of the Resistance, the oppression of the Gestapo? The importance of hope in confronting the Nazis? The effect or the collage of hopelessness after the occupation of Warsaw?
5. The atmosphere of the theatre? the conventions of films about theatre and plays? The pretensions and the satire? The title and its ironic use especially for the Lieutenant's leaving during the soliloquy? The humour of using "Hamlet" and the later quotation from "The Merchant of Venice"? Joseph Tura and his style, his vanity, his talent and lack of it? An ordinary bumbling actor, his lack of suspicion? His rising to the occasion? The reputation of his company in Warsaw, the playing of Shakespeare, the plans for a play about the Gestapo? Maria and her love for her husband, her being the star of the company, her charm?
6. The introduction of the romantic complications with the suitor and his flowers? His youth, enthusiasm, pressing his suit, his plea for the marriage to break (and the irony of the war breaking out instead)? The use of the "To Be or Not to Be” soliloquy for his exit and the effect on Joseph? The flowers, the romance? The irony of his sending his message back to Poland by the spy, the communication of the message to Joseph, Joseph’s ironic communicating it to Maria? The complications of this romantic tangle underlying the more serious aspects of the Resistance? Joseph and his pride, the punching of the Lieutenant? The blend of tensions and comedy?
7. Alexander Silitsky and his role as a spy? The bond with the troops in England and the Lieutenant's revealing this to the authorities? His quick arrival in Warsaw? His tempting Maria to be a spy? The expectations of his interview with the Gestapo head? His shrewdness in realising he was tricked? The ugliness of the chase in the theatre and his death? The macabre use by the Gestapo of his dead body and Joseph having the ingenuity to turn the tables by shaving his beard? The mock treatment of the espionage theme and the spy?
8. The theatre troupe and the personalities there? Their continually rising to the occasion? Joseph and his impersonation of the Gestapo commander (and though farcical its not being far from the truth?), his impersonation of Silitsky, his shaving the real Silitsky and continued success? His ability to sustain a part despite his lack of ideas, chatter, stories? The importance of the other impersonations especially of Gestapo and German officers, even of Hitler? The irony of the Gestapo commandant and his continued mistakes and bad timing. telling jokes about Hitler, misinterpreting the situation and blaming Schultz his assistant? The build-up to the final plan for the rescuing of everyone and the use of Hitler? The mockery of Hitler in this kind of comedy in the forties and its impact? How entertaining the various impersonations, rescues?
9. Maria and the complications of her being with Silitsky, her not being able to get out of Gestapo headquarters, Joseph and his impersonations, the mistiming and the complexities of identity? The humour of the ending with Hitler taking her away and the implications of this? Her love for her husband, the romance?
10. The mockery of the Gestapo head - Sig Ruman and the numerous comedies that he made in the thirties and forties? The satiric mockery of the Germanic Gestapo tactics? Their pretentiousness?
11. The build-up to the opera sequence and the success of the escape?
12. The film as part of the war effort, cheering up audiences, the morale-boosting of presenting the Resistance and human values and the need for success and fight for freedom?
