Mel Brooks is a guy who basically made a career out of poking the most dangerous bears in history. Honestly, it’s kinda his whole thing. Most people point to The Producers when they talk about his obsession with lampooning the Third Reich, but there’s another flick that’s often overshadowed by his "Zucker-Abrahams-Zucker" style parodies. I’m talking about the 1983 film Mel Brooks To Be or Not to Be.
It’s a weird one. It’s not a spoof. Not really. It’s a remake of a 1942 Ernst Lubitsch classic, which is already a ballsy move because remaking a masterpiece is usually a one-way ticket to critical failure. But Brooks didn't just want to copy-paste the original. He wanted to turn it into a high-energy, vaudevillian, and surprisingly touching tribute to his wife, Anne Bancroft, and the resilience of the Jewish people.
The Comedy That Risked Everything
Look, comedy is subjective, but some jokes carry a heavier weight than others. When the original To Be or Not to Be hit theaters in 1942, Poland was actually under Nazi occupation. People were dying. Critics at the time thought it was in incredibly poor taste. Fast forward to 1983, and Mel Brooks decides to step into those shoes.
Why? Because Mel Brooks believes that if you can laugh at a monster, you take away its power.
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In this version, Mel plays Frederick Bronski, the leader of a "world-famous in Poland" acting troupe. He’s a ham. A total ego-maniac. He’s the kind of guy who thinks his Hamlet is a gift to humanity, while his wife, Anna (played by the legendary Anne Bancroft), is busy having an affair with a young pilot in her dressing room.
The plot kicks off when the Nazis invade Warsaw. Suddenly, these narcissistic actors have to use their costumes and fake accents to outwit the Gestapo. It’s a farce, sure, but the stakes are life and death.
A Love Letter on Film
One of the coolest things about Mel Brooks To Be or Not to Be is that it’s the only movie where Mel and Anne Bancroft really got to lead as a couple. They were married for 41 years, and you can see the chemistry dripping off the screen. Mel has gone on record saying this was his favorite production because he got to hang out with his wife for twenty-four hours a day.
- The Polish "Sweet Georgia Brown": There’s this iconic scene where they perform a song and dance number entirely in Polish. It’s absurd. It’s fast. And it’s a perfect showcase for Bancroft’s comedic chops, which were often buried under her more "serious" roles like The Graduate.
- The Hitler Rap: Okay, technically the "Hitler Rap" was a promotional single and didn't appear in the movie itself (though it used the sets). But it perfectly captures the Brooks ethos: "Don't be stupid, be a smarty, come and join the Nazi Party." It’s biting satire wrapped in 80s synth-beats.
What Most People Get Wrong About the Remake
Critics often hammer remakes for being "unnecessary." And yeah, the 1942 Lubitsch version has that "Lubitsch Touch"—a subtle, sophisticated wit. Mel Brooks doesn't do "subtle." He does a sledgehammer.
But here’s the thing: Brooks added layers that the 1942 version couldn't touch. In the original, the characters are mostly concerned with the Polish underground. In the 1983 Mel Brooks To Be or Not to Be, Brooks explicitly includes the persecution of gay people under the Nazi regime.
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He introduced the character of Sasha, Anna’s dresser, played by James "Gypsy" Haake. It was a groundbreaking move for a mainstream comedy in the early 80s. By showing the pink triangle alongside the Star of David, Brooks wasn't just making jokes; he was making sure nobody forgot who the victims were.
The Supporting Cast is Pure Gold
You can’t talk about this movie without mentioning Charles Durning. He plays Colonel Erhardt (the "Concentration Camp" Erhardt). Durning was actually a highly decorated WWII veteran who survived the D-Day landings and the Malmedy massacre. The irony of him playing a buffoonish Nazi colonel adds a layer of "screw you" to the Third Reich that only a vet could pull off.
Then you’ve got Christopher Lloyd as Captain Schultz. This was right before he became Doc Brown in Back to the Future. He plays the "straight man" to the chaos, and his slow-burn frustration is a masterclass in comedic timing.
Why It Still Matters Today
We live in a time where people are constantly debating what you "can" and "cannot" joke about. Mel Brooks To Be or Not to Be is a case study in punching up. It doesn't mock the victims; it mocks the absurdity of the oppressors.
It reminds us that art isn't just a luxury. For the Bronski troupe, acting was a survival mechanism. They used their stagecraft to save lives. There's a beautiful, quiet moment where a Jewish actor named Greenberg finally gets to perform Shylock’s "Hath not a Jew eyes?" speech from The Merchant of Venice to a group of Nazi soldiers. It’s not a joke. It’s a confrontation.
Brooks balances that heavy stuff with some of the best slapstick of his career. The scene where Mel has to "play" Hitler to fool the real Nazis is pure gold. He’s terrified, he’s sweating, but he’s an actor—and the show must go on.
How to Watch and What to Look For
If you’re going to revisit this classic, or see it for the first time, don't go in expecting Blazing Saddles. It’s a different beast. It’s a "backstage musical" meets "war thriller."
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- Watch the chemistry: Notice how Mel and Anne look at each other. That’s not acting. That’s a 20-year marriage at that point, still very much in the honeymoon phase.
- Listen to the dialogue: A lot of it is lifted directly from the 1942 script. It’s fascinating to see how Brooks changes the delivery to fit his more "vaudeville" energy.
- The Costume Design: The film won awards for its costumes for a reason. The transition from the "fake" theatrical world to the "real" world of occupied Warsaw is handled visually through the wardrobe.
Mel Brooks To Be or Not to Be isn't just a remake. It’s a statement. It’s a testament to the idea that laughter is a form of resistance. Whether you're a die-hard fan of the 2,000-Year-Old Man or just someone who loves a good farce, this movie deserves a spot on your watchlist.
If you want to dive deeper into the Brooks filmography, start by comparing this to the original 1942 film. You’ll see exactly where Mel stayed faithful and where he decided to let his own brand of "low-brow/high-concept" humor take over. It’s a fascinating look at how comedy evolves over forty years, even when the subject matter stays the same.