The Great Dictator

Back at the dawn of the talkie era, Charlie Chaplin defended his decision not to start making sound films by saying "The moment the little tramp talks, he's dead". He was right of course. His comic persona was the creation of an era in cinema when words and voices were irrelevant. The little tramp's appeal lay entirely in how he did things, not in what he was supposed to be saying. And yet it was inevitable that if Chaplin wanted to continue in the business he would have to cave in eventually. Besides Chaplin's agenda was itself changing, and he had now reached a point in his life where he really wanted to speak to the world.

Many of the early scenes in The Great Dictator seem to prove Chaplin's fears about sound film. The slapstick has lost its flow, looking forced and awkward. And it appears Chaplin has no real idea how to write or direct dialogue. Sometimes characters make some banal little comment on the action as if simply to fill up the silence. Even worse things happen when Chaplin attempts verbal humour, resorting to feeble puns like the one about the gas keeping him awake all night (not that puns are necessarily bad, just that Chaplin isn't very good at them). Above all, the visual and verbal business is poorly integrated, with a badly-timed stop-start feel. It makes it particularly jarring after a dialogue scene to see this ageing version of the little tramp doing some of his old moves, such as teetering on one foot as he runs into a squad of stormtroopers. These scenes are unlikely to raise more than a titter, and are a sad testament to the fact that this familiar character was past his prime and out of time.

But this is a tale of two Charlies. For the first time in decades Chaplin creates a new character for himself in dictator Adenoid Hynkel. And the great thing about Hynkel is that he sidesteps Chaplin's inability with comedy in words but still makes use of comedy in sound. The dictator's cod-Germanic speech is part silly-voice, part linguistic nonsense and it is very, very funny. It actually adds to the humour that no-one else in the picture speaks it, and that Hynkel mostly lapses into it in moments of anger, as if it was some involuntary anxiety-driven affectation. The other great thing about Hynkel is that he is one of Chaplin's great works of satire. The nonsense language is of course a lampooning of Hitler's forceful speechmaking, but the parody continues through everything Hynkel does. Take for example when he has finished posing with the baby, and rather disgustedly wipes his hand clean. He does it with the same stiff-faced disdain that Hitler always displayed in public, but the character's puffed-up austerity is also being punctured by the fact that he's just got his hand covered in wee wee. The little tramp, a creation of and for the silent era, could not make the transition to sound. But Hynkel is a creation of and for the sound era, and he works fantastically.

As the picture unfolds, it begins to gain maturity and clarity, not to mention comic brilliance. Jack Oakie's Napoloni makes a perfect partner for Hynkel, and their antics together are like the Marx Brothers at their most riotous. Napoloni is also a work of satire equal to Hynkel, with Oakie working in many of Mussolini's less dignified mannerisms, such as curling his lip and bulging his eyes like he's trying to squeeze out a fart. While Chaplin's direction is at its most overt and showy, he also cleverly and subtly gears his compositions towards ridicule, making the most of those tall set designs to show off the dictator as some little twerp. And finally, the picture acquires the poignancy that made Chaplin's silent features stand out, this time with an extra bite in the seriousness of its message. It is then that you realise Chaplin knew his little tramp was finished, and yet that he needed him here to deliver his point. By subjecting him to sound, Chaplin sacrifices his alter-ego, making a means to speak his mind to the public who had loved him.

This ingenious and innovate comedy packs many priceless moments and great sense of pace , though overlong . Chaplin's satire with several classic scenes , he has dual role as a Jewish barber and dictator Hynkel , an offensive portrayal of Hitler . Then the barber is mistaken for the Hitlerian tyrant and there happens bemusing events . Funny and extraordinary acting all around , as the stunning co-stars Jack Oakie as Napolini (Mussolini-alike) , Henry Daniel as Gasbstich (Himmler-alike) and Billy Gilbert as Herring (Goering) . Chaplin's first spoken film is brilliantly photographed by Karl Struss . This splendid film contains numerous amusing scenes , the funniest are the followings : 1) The one when during the WWI the barber-soldier along with a co-pilot are flying in a turned plane without to be aware 2) When Dictator Adenoid Hynkel tells overacting speeches , including a twisted microphone 3) Hynkel playing with an enormous world balloon 4) The Jew-barber shaving a man while fitting to Hungarian Dance : number 5 by Brahms 5) when Hynkel and Napolini each try to keep his body higher than other in a barber's chair , among them .

Production on the movie started in 1937 and shot in 539 days when not nearly as many people believed Nazism was a menace , as was the case when it was released in 1940 ; however , this film was ultimately upstaged as the first anti-Nazi film satire . Hitler banned movie exhibition to the Germans due to its satire of him , and put him in his death list after his proposed conquest of America . The movie is co-starred by Paulette Goddard , third of his four wives , they were married in 1936 , although no announcement of the marriage was made later, one time finished The Great Dictator . The picture was released in 1940 , when Chaplin had survived a moral scandal by a paternity suit but a brush with the House of Un-American Activities was the signal for the USA to refuse him re-entry from Britain and he fled to Switzerland . This movie was Charles Chaplin's biggest-ever box-office hit , grossing about $5 million at the time.

..this movie has been done when Hitler ( and Mussolini who is as well in the movie) was at the top and many politics and even the Roman Church used to close eyes about brutality and evil of Nazism. Especially in USA there were many people who had not understood what was really going on in Germany and Europe ( Charles Lindenbergh for example ).It would be as today a big actor would made a parody of Berlusconi or Chirac. Chaplin maybe made a lot of mistakes in his life, but this is really a masterpiece of humanity and IMHO a great demonstration he was a courageous man. The movie is funny and deep, the final speech has a terrible strength and is still updated. I think this movie is one of the best ever done.

I agree that the final speech is powerful, and stirring. It made my heart hurt (in a good way ;-) But I also have to say that the comedy is first-rate. When the Charlie and the pilot are unknowingly upside down and chatting away...when the pilot is serenely reminiscing about his girlfriend back home even as the downed plane plows right into the ground...when Hynkel delivers this vitriolic diatribe about 'the Juden' and the blandly impassive translator says, 'the Phooey has just made reference to the Jewish people' and 'the Phooey's heart is full of love to all mankind,' ...when Hynkel strips his hapless henchman of all his beautiful medals, spitting and fussing a mile a minute...I could go on and on! I think no one else on earth could play Hynkel as hilariously as Chaplin, but it might be fun to imagine modern comedians trying. ;-)

The tagline of 'The Great Dictator' is 'the comedy masterpiece', and I couldn't think of a better line to sum this film up. It's a hilarious political satire, but it also delivers a vitally important message. This film was released at the time when Hitler was at the height of his power and the main character, dictator Hynkel, is obviously a reference to him.

Charlie Chaplin is simply outstanding in this film in what was his first spoken role. To play two completely different characters, Hynkel and the Jewish barber, so convincingly in the same film is truly remarkable. Chaplin's speech at the end, which is very much HIS speech even though he's playing a character, is a piece of cinema I will never forget. Such a powerful, moving and compelling speech that remains relevant even today.

Making a comedy out of such a tragedy is risky business, but Chaplin's anti-fascist message ensured it wasn't taken the wrong way. 'The Great Dictator' is a hilarious but meaningful and powerful film. A brilliant piece of cinema.