To Be or Not to Be
Joseph and Maria Tura operate and star in their own theater company in Warsaw. Maria has many admirers including a young lieutenant in the Polish air force, Stanislav Sobinski. When the Nazis invade Poland to start World War II, Sobinski and his colleagues flee to England while the Turas find themselves now having to operate under severe restrictions, including shelving a comical play they had written about Adolf Hitler. In England meanwhile, Sobinski and his friends give Professor Siletski - who is about to return to Poland - the names and addresses of their closest relatives so the professor can carry messages for them. When it's learned that Siletski is really a German spy, Sobinski parachutes into Poland and enlists the aid of the Turas and their fellow actors to get that list back.
Working with a small-scale budget of $1.2M, the film achieved a respectable showing with $1.5M in global revenue (+25% profit margin).
Plot Structure
Story beats plotted across runtime
Narrative Arc
Emotional journey through the story's key moments
Story Circle
Blueprint 15-beat structure
Arcplot Score Breakdown
Weighted: Precision (70%) + Arc (15%) + Theme (15%)
To Be or Not to Be (1942) exhibits carefully calibrated plot construction, characteristic of Ernst Lubitsch's storytelling approach. This structural analysis examines how the film's 11-point plot structure maps to proven narrative frameworks across 1 hour and 39 minutes. With an Arcplot score of 6.7, the film balances conventional beats with creative variation.
Structural Analysis
The Status Quo at 1 minutes (1% through the runtime) establishes Joseph Tura performs his famous Hamlet soliloquy to a packed theater in Warsaw, establishing his status as Poland's leading actor and his vanity about his art.. Structural examination shows that this early placement immediately immerses viewers in the story world.
The inciting incident occurs at 11 minutes when News arrives that Germany has invaded Poland. Air raid sirens sound as the reality of war crashes into the theatrical world, ending performances and normal life.. At 11% through the film, this Disruption aligns precisely with traditional story structure. This beat shifts the emotional landscape, launching the protagonist into the central conflict.
At 50 minutes, the Midpoint arrives at 50% of the runtime—precisely centered, creating perfect narrative symmetry. The analysis reveals that this crucial beat Professor Siletsky is killed and hidden, but the actors realize they must now impersonate Colonel Ehrhardt at actual Gestapo headquarters to retrieve the list - the stakes escalate from isolated deception to infiltrating the heart of Nazi power., fundamentally raising what's at risk. The emotional intensity shifts, dividing the narrative into clear before-and-after phases.
The Collapse moment at 73 minutes (74% through) represents the emotional nadir. Here, The real Colonel Ehrhardt discovers the deception. The actors are trapped in Gestapo headquarters with their identities exposed and execution imminent - their theatrical tricks have failed against reality., reveals the protagonist at their lowest point. This beat's placement in the final quarter sets up the climactic reversal.
The Synthesis at 78 minutes initiates the final act resolution at 79% of the runtime. The troupe executes an elaborate plan: impersonating Hitler and his entourage to board a plane meant for the real Führer, commandeering it, and escaping Poland to England while Nazi officials salute their deception., demonstrating the transformation achieved throughout the journey.
Emotional Journey
To Be or Not to Be's emotional architecture traces a deliberate progression across 11 carefully calibrated beats.
Narrative Framework
This structural analysis employs proven narrative structure principles that track dramatic progression. By mapping To Be or Not to Be against these established plot points, we can identify how Ernst Lubitsch utilizes or subverts traditional narrative conventions. The plot point approach reveals not only adherence to structural principles but also creative choices that distinguish To Be or Not to Be within the comedy genre.
Ernst Lubitsch's Structural Approach
Among the 2 Ernst Lubitsch films analyzed on Arcplot, the average structural score is 7.0, reflecting strong command of classical structure. To Be or Not to Be takes a more unconventional approach compared to the director's typical style. For comparative analysis, explore the complete Ernst Lubitsch filmography.
Comparative Analysis
Additional comedy films include The Ministry of Ungentlemanly Warfare, The Bad Guys and Lake Placid. For more Ernst Lubitsch analyses, see The Shop Around the Corner.
Plot Points by Act
Act I
SetupStatus Quo
Joseph Tura performs his famous Hamlet soliloquy to a packed theater in Warsaw, establishing his status as Poland's leading actor and his vanity about his art.
Theme
Greenberg discusses the troupe's anti-Nazi play being cancelled, remarking "What you are, you are by accident of birth. What I am, I am by my own achievement" - establishing themes of identity, performance, and authenticity.
Worldbuilding
Introduction to the theatrical troupe in Warsaw including Joseph and Maria Tura, their marriage dynamics, the backstage world, and Maria's admirer Lieutenant Stanislav Sobinski who leaves during Joseph's soliloquy.
Disruption
News arrives that Germany has invaded Poland. Air raid sirens sound as the reality of war crashes into the theatrical world, ending performances and normal life.
Resistance
Sobinski joins the Polish RAF in England. The troupe struggles under Nazi occupation. Professor Siletsky is revealed as a Gestapo spy with a list of Polish resistance members. Sobinski learns of the threat and must return to warn the underground.
Act II
ConfrontationPremise
The troupe executes increasingly elaborate theatrical deceptions: Joseph impersonates Colonel Ehrhardt to fool Siletsky, the entire theater becomes a stage for espionage, with costume changes, props, and performances creating comedic near-misses with the Gestapo.
Midpoint
Professor Siletsky is killed and hidden, but the actors realize they must now impersonate Colonel Ehrhardt at actual Gestapo headquarters to retrieve the list - the stakes escalate from isolated deception to infiltrating the heart of Nazi power.
Opposition
Joseph goes to Gestapo headquarters as "Ehrhardt" where he meets the real Colonel Ehrhardt. The deception grows more dangerous as multiple impersonations overlap, Ehrhardt grows suspicious, and the company must perform Hitler to escape detection.
Collapse
The real Colonel Ehrhardt discovers the deception. The actors are trapped in Gestapo headquarters with their identities exposed and execution imminent - their theatrical tricks have failed against reality.
Crisis
The troupe faces their darkest moment, seemingly cornered by the Gestapo with no escape. They must find a way to use their only weapon - performance - against impossible odds.
Act III
ResolutionSynthesis
The troupe executes an elaborate plan: impersonating Hitler and his entourage to board a plane meant for the real Führer, commandeering it, and escaping Poland to England while Nazi officials salute their deception.