Thanks for the memories!

Memorable, crazy movie

I wanted to but couldn't!

The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

To begin with, it is unfair to compare this to the Lubitsch classic for any number of reasons. First, of course, is that for Lubitsch and his audience, the Second World War was a living issue: Jack Benny threw himself into the Bronski role with such energy because he was of Polish-Jewish family, and had some idea what Nazsm meant for any relatives he might have had in Poland at the time. Although Brooks is also Jewish, the immediate threat Benny and Lubitsch recognized is for Brooks a thing of the past. Nor dare he overplay that hand; for Lubitsch, the full horror of the Holocaust had yet to be discovered; Brooks and his director have to play against our knowledge of it in a way that avoids raising any thoughts of atrocities involved.Also, due to Hollywood censorship issues of the time, that the marriage between the Bronskis is failing because Anna is a nymphomaniac had to be carefully encoded in the dialog of the Lubitsch film, so that only sophisticated adults could understand the full implications of what was being said; even so, the script actually pushes the envelope quite a bit. By the time the Brooks version was made, there was no longer any envelop to push. While this means Brooks and Bancroft can get more explicit about their marital issues, it also means a loss of sophistication.Finally, there is the very look of the film. Director Johnson has avoided any reference to "the Lubitsch touch" which included a certain sparkle to the lighting as well as hip-to-head two-shots intercut with close-ups, and a sweeping, yet highly detailed, set-design. Johnson has gone for a "classical" feel to his movie, but his visual references - lighting, color, composition - are to the 1950s, which quietly emphasizes the sexual farce element of the film, since the '50s were the era of the particularly American sexual farce - Some Like It Hot, The 7 year Itch, Pajama Game, etc.And as an inheritor of the 1950s comedy style, I think this film works pretty well. The characterizations are lively (this is really Brooks at his best) the timing is solid and the pace swift, inconsistencies rapidly vanish and are easily forgiven, the dialog remains amusing and is not fixated by topical references. And there's an undeniable chemistry between Brooks and Bancroft, as well as an ensemble feel to the film as a whole.Taken in its own right, its no classic - but it's a pretty funny movie.

I know that this was a remake of a 1942 Ernst Lubitsch movie, but I've never seen the Lubitsch version. So, the Mel Brooks version of "To Be or Not to Be" is the one that I know. And I really like it. Just as he did in "The Producers", Mel makes the audience laugh hysterically at the Nazis (also accomplished by Charlie Chaplin and Roberto Benigni). Like many movies, it goes to show that humor really is the best way to deal with political issues...and also that Mel didn't have to be completely silly to come up with great ideas. Too bad that Mel Brooks and Anne Bancroft didn't co-star more often, as they were definitely a cool team here. You're sure to love it. And just remember what to do the next time that you have to deal with chronic invaders...Also starring Tim Matheson, Charles Durning, Christopher Lloyd and Estelle Reiner.

This remake of the classic Jack Benny-Carol Lombard film is even better than the original.Made with the comic gift of Mel Brooks, the film really shines. Where else but with Brooks would we hear the line-"My cousin Rivka got burned out?" Where else would you hear Sweet Georgia Brown sung in Polish?As famous thespians in pre-war Poland, the two are trapped with the Nazi invasion in 1939. Jose Ferrer is marvelous in the role of a professor who is really a Nazi trying to get a list of third columnists.With all this going on, the Bancroft character has been having an affair with officer Tim Matheson, who becomes part of the plot to get Ferrer before he can bring the list to Nazi headquarters.Charles Durning, as Schultz, seizes the opportunity in a completely off the wall performance as a dumb German officer. He could have easily been in "Hogan's Heroes" after this one.The escape scenes with the entire acting troop are hilariously done. A homosexual character is absolutely fabulous as he seeks refuge from the Nazi terror.There is laughter every step of the way up to Brooks dressing up like Hitler as their plane lands into an English bar and Brooks walks in saying, "Is this England?"Truly a romp and a great one at that.

having not seen the Ernst Lubistch original, I came into this film with a blank mind not comparing it to its predecessor. This for me, was a huge plus and I walked away knowing that it was one of the finest comedies I have ever seen. It followed the most basic rule of comedy, in that the plot was simple, yet interesting - meaning that you didn't have to spend time going over the plot in your head (something that can kill a comedy), yet you still maintain interest. Mel Brooks is on stunning form, combining personal depth with superb comedy. Anne Bancroft is strong, yet unforced in a role that seemed almost written for her, and the comic strength of the supporting cast helps add to what is a movie that you can just sit back and enjoy.