Why so much hype?

I don't have all the words right now but this film is a work of art.

This story has more twists and turns than a second-rate soap opera.

While it doesn't offer any answers, it both thrills and makes you think.

While I enjoy comedies, I was never one to "burst out with laughter" during any comedy film. That was, until I viewed 'To Be or Not to Be'. Simply put, this film does not hold back on its satirical humour of, not only Nazi Germans, but the theater/stage community and the extreme levels of passion many actors/actresses involve themselves in. Despite the heavy elements of satire, the humour never goes overboard into crude or absurd (compared to many satirical films of today). Every bit of humour, whether dialogue or action, is delivered perfectly and hits the right note. There are very few, if not none, "dud" moments. The acting is, of course, excellent, with each actor/actress giving off performances that make it seem as if the role were tailor-made for them (which appears to be the case for Jack Benny).After viewing this film, it is surprising to see that it is often excluded from many "Greatest Comedies of All-Time" lists, and may be overlooked. If you enjoy characters pretending to be others, finding themselves in awkward/precarious situations, and their attempts to squeeze their way out, you will find this film hilarious. Either way, it is a must-watch.10/10

An hilarious satire produced and directed by Ernst Lubitsch from the story by Melchior Lengyel. Werner Heymann received his third of four unrewarded Oscar nominations for his Score; the film was added to the National Film Registry in 1996. #49 on AFI's 100 Funniest Movies list.Jack Benny and Carole Lombard (her last film) star as the leaders of a Polish acting troupe that works to foil the Nazis during World War II in occupied Warsaw. The actors themselves are of the over-the-top variety, so part of the comedy is in the portrayal of the Nazis as buffoons who can be fooled by such "hams", intent on intercepting a spy's information that would damage Poland's resistance movement.Robert Stack plays a Polish officer who is not only part of a love triangle that includes Benny and wife Lombard, but is also the one given the mission to keep the German spy (Stanley Ridges) from delivering his list of resistance members names to the stereotypically brutish German Colonel (Sig Ruman).For patriotic reasons, Benny helps Stack anyway, directing his group of actors (Felix Bressart, Lionel Atwill, Tom Dugan, George Lynn) to play various roles to foil their common foes. Charles Halton (as a theater producer), among others, also appears.

During the Nazi occupation of Poland, an acting troupe becomes embroiled in a Polish soldier's efforts to track down a German spy.Ernst Lubitsch writes, produces and directs this satire of Nazi Germany. Putting it alongside Charles Chaplin's "The Dictator", this is a very powerful film because of its timing. Released in 1942, at the height of World War II, when anyone could have won... very brave to make a film of this sort.Lubitsch, a man who inspired the likes of Billy Wilder and Mel Brooks, never had his equal. Perhaps not the most well-known creator, he ought to be. With films like this, he was a true treasure.

"To Be or Not to Be" is one of a very small number of films that are genuine satire. Of course, satire is comedy and humor. But it can also be dramatic, action-filled, pathos, empathy and mystery or intrigue. It is most often a combination of these. The comedy is often the release or relief from what the story would be without it. The genius of comedy- satire is its ability to make audiences laugh by its treatment of a subject that most often is not otherwise very funny. Satire can cover any and all aspects of life, but the very best – and that with unquestionably wide appeal – is political satire. That's what we have in "To Be or Not to Be."I recall the first time I saw this movie – how I was gripped by the humor, then by the intrigue about what came next, then by concern that Carol Lombard would be found out, and then back to the humor again. This film has considerable darting between its emotion-inducing scenes. That makes it all the more a great satire and comedy. Of course, I knew it was to be a comedy. What else could it be with Jack Benny and Carole Lombard? Still, a somewhat zany story, with great screen writing and equally great direction by Ernst Lubitsch, was able to hold sway over my viewing. Then we add superb acting all around. Carol Lombard is excellent in her role as Maria Tura. Her humorous lines are very good, but as in many other films, her "straight man" role plays perfectly with Jack Benny's Joseph Tura. His are the exaggerated blown-up lines, side glances, smirks and assorted facial expressions that ignite our uproarious laughter. Since my first viewing, I now watch this film for the pure humor and satire, and I watch for the many little subtleties that I often miss in such clever films on first viewing. And, they're not all by the main stars. The movie has several top-flight supporting actors of its day. They are the source of many of the laughs. Most are members of the Polish theater group. Felix Bressart plays Greenberg, Tom Dugan plays Bronski, Charles Halton plays Producer Dobosh, and Lionel Atwill plays Rawitch. Viewers knew for sure that the role of SS Col. Ehrhardt would not be too stern or serious – with Sig Ruman in the role. Robert Stack is very good in his role as Polish pilot, Lt. Stanislav Sobinski, and Stanley Ridges does well in the straightest role of the film, as Professor Siletsky.This film is a must for any movie library. It may not be as funny to younger audiences who haven't yet studied the history of the World War II period. The film was made in 1941, before the U.S. entered the war. Because America was still neutral, this movie was considered too controversial so it was held back. It was finally scheduled for release in March, 1942, Then a sad event preceded its opening when Carol Lombard was killed in a plane crash in January. She was just 33 years old.One oddity I found in this film occurred in a scene after Tura (playing Siletsky) leaves Col. Erhardt's office. The camera then pans to Erhardt's appointments calendar next to his name plaque on his desk. The top of the page is dated in large letters: "1941, Tuesday, December 16." That seemed like a huge jump in time in the film – more than two years. The movie opens on Aug. 31, 1939, the day before Germany invades Poland. Are we to think that it was more than two years later that the rest of the events transpire? The U.S. would have been at war after Japan bombed Pearl Harbor, and surely there would have been some mention of that in the film. I think this was a slight oversight from the movie being filmed in late 1941 – before Pearl Harbor. Then, when the film's release was held back because the U.S. was not yet at war, this scene wasn't re-shot. The calendar most likely should have read 1939 or 1940 in the first place. Another little oddity appears on the calendar. It is filled in with appointments at 15-minute intervals. The 10:30 slot lists Maria Tura. And, at 10:45, a single name is listed: "Schindler." Might that be a reference to Oskar Schindler, whose story is told in the 1993 blockbuster film, "Schindler's List?" If so, it would be ironic because people in 1941 (including Hollywood movie makers) would have known of Schindler only as an exploiter of Jewish labor for his wartime industrial plant in Krakow, Poland. Only after the war were Schindler's efforts made known – how he saved the lives of hundreds of Jews. Some of the lines in this film are riotously funny. Here are a couple samples. Tura/Siletsky says, "I didn't like the way Capt. Schulz shifted the responsibility back to you." Col. Erhardt, "Neither did I. You know there's always something wrong with a man who doesn't drink, doesn't smoke, doesn't eat meat…" Tura/Siletsky, "You mean our Führer?" Erhardt, "Oh, no. Please, professor, I hope you won't …"Before he leaves Erhardt's office, Tura (playing the fake Siletsky) asks if Erhardt had heard of that great, great Polish actor Joseph Tura. Erhardt says, "Oh, yes. As a matter of fact, I saw him on stage when I was in Warsaw once before the war." Tura/Siletsky says, rhetorically, "Really?" And Erhardt replies, "What he did to Shakespeare we are doing now to Poland."