Any partner resembles him

Rating: Null/10 (19 November 2007)

"To be or not to be" (1942) directed by Ernst Lubitsch is like answer to the question, without knowing that some of the characters were talking about a play concerning an invader, but coming soon maybe will watching it. What means the touch of Lubitsch ? An invisible taste for the crazy happening not programmed by the screenplay, even not necessarily as an improvisation, but much more as a kind of refraction among the characters in a given scene of clarification, where every behavior is mainly at high expression by its reflection on the others as mannequins manipulated in a true scene of life, before the unthinkable of the gestures and compasses as dramatic rule of the comedy. While non sense switch slowly or quickly as harlequins of posterity in a new sense of a given detail, as the kitsch itself of retroactive modernity from the personality at the better of the story. Normally it arrives just when two thirds of the duration occurred and something improvable and improbable of new happens and pick out.
Warsaw before the war, not at all but just in time to play the comedy on stage, whilst meanwhile the audience of foreign viewers would be from those whom the players are acting, either with their uniforms. As though liking seemingly of the same Hitler's clothes, perhaps or even any partner resembles him but from the other opposite side truly. And it happens... It is supposed to be a great movie in black and white, a comedy about national socialism and its specific fairly way of exposure of uniforms and songs as opera given by aristocrats feelings to the insignificant people of the corner of the next small street with commerce stores, as if it was possible being assimilated with them without any single purpose of the racial division between superior and inferior status forgotten at the time with its tricky conception of unemployed under class.
The style of the director Lubitsch was having his so-called touch of history, with the invasion of Poland to the go in 1939, like the play performed by this story of Jewish theater. Or, doing it for having this qualification, as composed by migrant workers, like fake actors playing the invader without knowing that it arrives for just the premiere of the play. And perhaps their inclusion in a concentration camp nearby, if they don't take some measures of desecration before the oppressor as one of them said subtly in one ambiguous line. This movie it was a fairly tale out of any reality show, because sound predominates over sights. It was a demonstration by absurd. It seems as a gloss over -one year after Hess was escaping by plane from Germany to England for convincing the authorities there of both countries to make a deal for a conditioned war -, limiting the foolish way that turned in between. Lubitsch as director was maybe sensible to this involuntary comic boundary of such a tragedy when America was still hesitating for participation in the war at Europe, misgiving about any overview from there about the gravity of the ferocity against Eastern peoples and slave labor on concentration camps and the lack of hygiene on ghettos.