To Be or Not to Be

Frederick Bronski runs a large ensemble show in Warsaw, but his nitpicking creates friction with the cast. The rest of the company grows weary of his demands, especially Anna who receives much of the audience praise. The backstage atmosphere is tense as power dynamics unfold behind the scenes.

Anna defies Frederick's control by inviting bomber pilot Sobinski to her dressing room during the Hamlet performance. The flirtation sparks jealousy and complicates the couple's already strained relationship. The moment foreshadows the dangers looming over their lives.

Germany invades Poland, forcing the production to confront censorship and danger. Sobinski leaves to rejoin his RAF squadron, while the troupe tries to keep the show alive under new constraints. The strain between Frederick and Anna deepens as the outside war presses in.

Sobinski and the Polish squadron meet Dr. Siletski, a radio broadcaster who claims to return to Poland with messages for families and the Underground. Siletski's behavior and memory gaps raise questions, and Sobinski notes he might be more dangerous than he appears. The possibility of being used as a spy hangs over the troupe.

Sobinski confers with British intelligence, who deduce that Siletski is a Nazi sympathizer aiming to hand over the Underground network's names. The discovery confirms the danger of Siletski's messages and the need for caution. A plan forms to intercept him and protect the resistance.

Sobinski parachutes into Warsaw to rejoin Anna and Frederick, who have moved in with Anna's dresser Sasha after their home becomes Gestapo Headquarters. The trio prepares for a dangerous confrontation with the Gestapo while maintaining appearances. Tension remains high as they shelter under constant risk.

Siletski brings Anna to his hotel room in the Europa Hotel to question her about Sobinski's message and then invites her to dinner. The encounter blends danger with personal intrigue, further entangling Anna with Siletski. The stakes rise as Frederick and Sobinski weigh how to act.

Frederick and Sobinski hatch a plan for Frederick to pose as Erhardt, the Gestapo officer, to retrieve a copy of the list. The scheme relies on careful disguises and timing to outmaneuver the German security and protect Anna. The decision marks a turning point from covert tension to active deception.

Actors disguised as Gestapo interrupt Anna's date with Siletski and haul him off to 'headquarters' at the Bronski Theater. Frederick manages to grab the list but accidentally blows his cover by reacting to news of Anna's affair with Sobinski. The ruse risks collapsing right as the clock runs out.

Siletski is killed, and Frederick must assume the role of Siletski to retrieve a further copy of the list and keep Anna safe. He shaves Siletski's beard, applies a fake, and goads Ehrhardt to rip off the disguise, exposing the ruse and securing Sasha's release. The German guard's disbelief buys precious moments.

Nazi soldiers arrest Sasha for being homosexual, and the troupe's efforts to protect him fail as the theater is shut down. Anna is taken to Gestapo HQ, and Frederick again disguises as Siletski to attempt a rescue. Ehrhardt's suspicions burn hot as the deception continues to spiral.

With a daring plan in place, Sobinski and the troupe stage a special performance for Hitler as a smokescreen to get themselves and the Jewish refugees out of Occupied Poland. The escape is set in motion as they flee to England, where the British government allows the Bronskis to perform in London. During the London engagement, a young soldier stands and walks out on Frederick's famous 'To be, or not to be' moment, underscoring the film's mix of heroism and vanity.