The sophisticated beauty sits behind closed doors. What is not said, what is implied, what is suggested, what is alluded and never truly disclosed into certainty always possesses an ultimate power impossible to question.
To Be or Not To Be (Ernst Lubitsch, 1942) belongs to this world of manners or, if you want, to this world of (cinematographically speaking) ellipses: all knowing, but not revealing and never needing to.
In occupied Poland, the theatre company of Warsaw tricks the SS and saves the East European anti-Nazi movement.
The film is a symphony of spiralling situations, where hilarious seemingly unsolvable problems are suddenly resolved with ingenious and unexpected interventions that only exacerbate, though, new comical problems.
Fallacy and misconception are enclosed in a carefully inter-twined plot exploring the theme of appearance and reality, and how they (appearance and reality) are so amusingly, yet dramatically interchangeable.
To Be or Not To Be is THE comedy of manners: generated by Lubitsch's touch and generating moving scenes together with double-entendres and...