Can a comedy about the Nazi occupation of Warsaw ever be truly funny?

Entertainment · Published 3 October 2026 Swipe more like this →

In short: Ernst Lubitsch’s 1942 film To Be or Not to Be dared to find humor in the darkest days of World War II. While contemporary critics slammed it as tasteless, modern audiences and scholars now hail the black comedy as a brilliant, complex satire of both Nazi ideology and theatrical vanity.

The film follows a troupe of Polish actors in 1939 Warsaw who use their stagecraft to outwit the Gestapo. Led by the vain Joseph Tura, played by Jack Benny, and his wife Maria, portrayed by Carole Lombard, the company navigates a dangerous game of impersonation. The plot hinges on a series of farcical identity swaps, including Tura masquerading as a Nazi colonel to protect the resistance. The film’s title refers to Hamlet’s famous soliloquy, which serves as a recurring motif throughout the story, often interrupted by the characters' secret romantic and political machinations.

Upon its 1942 release, the film faced significant backlash. Critics like Bosley Crowther of The New York Times found the juxtaposition of farce and the brutal bombing of Warsaw jarring. Some reviewers even attacked the director, Ernst Lubitsch, for his German heritage, accusing him of mocking the tragedy of Poland. Lubitsch defended his work in an open letter, arguing that he was satirizing the ridiculous Nazi ideology and the inherent narcissism of actors, who remain performers even when faced with mortal danger. He maintained that tragedy and satire could coexist effectively.

Time has vindicated the film. It was selected for the United States National Film Registry in 1996 and currently holds a 96% approval rating on Rotten Tomatoes. Philosophers and critics, including Slavoj Žižek, have praised its audacity, with Žižek calling it the best comedy ever made. Today, it is recognized not as a callous effort, but as a delicate balancing act of ethics and slapstick. The film’s legacy endures through various adaptations, including a 1983 remake starring Mel Brooks and a 2008 Bollywood version, cementing its status as a classic of the genre.

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