To Be or Not to Be

If I heard about a remake of To Be or Not to Be and didn't know the cast, I'd probably shrug it off and stick with the original. One of the reasons I loved the 1942 version is because it was made during wartime and had an extra sense of fear in every scene, since no one knew how the war would turn out. A remake in the 1980s wouldn't have that same effect, no matter how good it was. But, since I knew the cast, I decided to rent it. Who doesn't want to see Mel Brooks and Anne Bancroft together?

The remake is extremely similar to the original, so if you did love the 1942 film, you'll still love this one. Just in case you don't know the plot, I won't spoil it for you here. It follows a theater troupe in Poland during WWII, and how they get involved in the fight "backstage". Just as in the original, the comic timing in the remake is impeccable, and you'll see some familiar faces joining the cast. Charles Durning plays Erhardt, Christopher Lloyd plays Schultz, and José Ferrer plays Siletski. If you don't know who those characters are, then you obviously haven't seen either version of this story. It's time you started! Pick whichever cast appeals to you and get ready to split your sides laughing.

This remake of Ernst Lubitsch's wartime comedy has often been dismissed as a ham-fisted and unnecessary vanity exercise. This is grossly unfair, as the Brooks' version is in fact a deft and funny comedy that stands up well in comparison to its forebear. Mel Brooks and Anne Bancroft make their own the roles of the Bronskis, a Warsaw theatrical duo ("world famous in Poland")who star in revues at the Bronski theatre. When war breaks out the Bronskis become brood-hens to an ever-growing community of Jewish refugees while staying one step ahead of the Nazis. Brooks and Bancroft are fine in the roles of the battling Bronskis, particularly Mel Brooks who finds a touching level of vulnerability beneath the bombast and bluster of Frederick Bronski. Despite the farcical and improbable plot twists, the narrative is sound and genuine pathos registers throughout the film. Those with fond memories of Jack Benny and Carole Lombard in the lead roles may have boycotted this on first release, but they have denied themselves a rare treat - a sure-footed and genuinely entertaining film.

I loved the Benny/Lombard version but Brookes and Bancroft are so personable you cannot help but love this. Durning was so funny and Christopher Lloyd was great....

I liked it.

Actually, when interviewed about this movie, Mel Brooks said it was an homage to Jack Benny. And if you look, the Bronskis live on Kubelsky Street, Benny Kubelsky is Jack Benny's real name. There are many other touches that also show Brooks' love for the original. Anne Bancroft is a true treat. Her comedic talents shine, she was truly a rare actress, and will be missed.

It was well done, with Mel Brooksian flair, and respectful of the original. I won't add comments about the acting, there are so many pros and cons at this point, one more won't make a difference. But if you have some free time, see BOTH of the movies. It's not sacrilege to like them both.

TO BE OR NOT TO BE

Aspect ratio: 1.85:1

Sound format: Dolby Stereo

1939: As the Nazi's invade their homeland, a humble Warsaw theatre troupe stages a daring escape after stumbling on a Gestapo plot to kill members of the Polish resistance.

Whilst the fondly-remembered Ernst Lubitsch original was actually filmed during wartime (1942), at a point when the outcome of the conflict was still uncertain, this updated vehicle for Mel Brooks has no such edge, but Alan Johnson's fast-paced remake at least preserves the elements of comedy and drama which made the earlier film so potent. There aren't many belly laughs to be had from the low-key screenplay (co-written by Thomas Meehan and Ronnie Graham), and the Nazi caricatures are fun without being especially funny (Charles Durning was Oscar-nominated for his role as bumbling Gestapo officer 'Concentration Camp' Erhardt), but the film offers an upbeat mixture of thrills and frivolity, and a superb cast of experienced players take turns stealing the limelight from leading player Brooks (Anne Bancroft has a ball as Brooks' duplicitous wife, easing her marriage blues by encouraging a half-innocent liaison with handsome airman Tim Matheson, who's been assigned by British Intelligence to foil a dastardly plot initiated by double agent Jose Ferrer). As in the original, the movie portrays the Nazi threat in a comic manner whilst constantly reminding viewers of the deadly reality which underpins the narrative, and while the scenario is fast-paced, funny and exciting in equal measure, it's also surprisingly respectful of history. Johnson's unfussy direction keeps things moving along nicely, and production values are efficient throughout.