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Great Dictator

Chaplin's 1940 film "The Great Dictator" was a satire of Adolf Hitler and the rise of fascism in Europe. The film tells the story of two men who look identical - Adenoid Hynkel, the dictator of Tomania, and a simple Jewish barber. Chaplin used physical comedy and parody to mock Hitler and expose the dangers of totalitarianism. Though controversial at the time, the film was also groundbreaking as Chaplin's first talking picture. It ends with his iconic speech pleading for peace, freedom and democracy. Despite threats and bans, "The Great Dictator" was a major commercial success and remains deeply influential for its bold political commentary.

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Shrawan Minz
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162 views2 pages

Great Dictator

Chaplin's 1940 film "The Great Dictator" was a satire of Adolf Hitler and the rise of fascism in Europe. The film tells the story of two men who look identical - Adenoid Hynkel, the dictator of Tomania, and a simple Jewish barber. Chaplin used physical comedy and parody to mock Hitler and expose the dangers of totalitarianism. Though controversial at the time, the film was also groundbreaking as Chaplin's first talking picture. It ends with his iconic speech pleading for peace, freedom and democracy. Despite threats and bans, "The Great Dictator" was a major commercial success and remains deeply influential for its bold political commentary.

Uploaded by

Shrawan Minz
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as PDF, TXT or read online on Scribd
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The Great Dictator

By Jeffrey Vance

Ironically, one of the most beloved men in


history was born within four days of one of
the most despised—and that the demon,
Adolf Hitler, so strongly resembled the
clown, Charles Chaplin. Some claim that
Hitler deliberately chose his mustache to
resemble Chaplin’s, who had enjoyed the
love and respect of audiences around the
world. Contemporary journalists and car-
toonists delighted in pointing out the simi-
larity in appearance between the two men.
A song about Hitler, published in Britain in
1938, asked the question, “Who is this
Man? (Who Looks like Charlie Chaplin).”

How could Chaplin, who had reached the


apogee of his popularity and influence,
avoid the role that fate seemingly had thrust
upon him? In many ways, the creation of Dictator Adenoid Hynkel (Charlie Chaplin) demonstrates how he
plans to control the world. Courtesy Library of Congress Collection.
“The Great Dictator” (1940) was virtually
inevitable. Over a decade after the rest of the
film industry had accepted talking pictures, the great- often in the film. The Barber must fire the enormous
est star of the silent-film era began his first full- Big Bertha gun, is pursued by a defective gun shell,
dialogue film. His subject was Adolf Hitler and his loses a hand grenade in his uniform, accidentally
theme, the dangerous rise of European fascism. De- marches with the enemy, and later finds himself up-
spite death threats once his project was announced, side down in an airplane. The prologue reminds the
Chaplin forged ahead with his satire. In his 1964 auto- audience of the malevolence of machines, the horror
biography, Chaplin admitted, “Had I known the actual of war, and the senselessness of destruction. Within
horrors of the German concentration camps, I could this framework, the stories of the Barber and Hynkel
not have made “The Great Dictator;” I could not have in their two moral universes, represented by the good
made fun of the homicidal insanity of the Nazis.” “People of the Ghetto” and the evil “People of the
Palace” are regularly intercut. The film concludes
The Great Dictator is a tale of two worlds: the palace, with an epilogue set after the start of the war in
where dictator Adenoid Hynkel rules, and the ghetto, Europe, soon to be called World War II. It shows the
where a Jewish barber struggles to make a living and Barber, mistaken for Hynkel, forced to address a
survive. The comedic device of the film is the resem- massed rally. The final speech, however, is not given
blance between the Dictator and the Barber, who is by the Barber character but by Chaplin himself, who
later mistaken for the Dictator. The theme of the sto- pleads for peace, tolerance, and understanding.
ry, at its basic level, is the struggle between good
and evil, reflected in the balance between the two The greatest moment of Chaplin’s satire on Hitler
worlds. and the rise of dictators is the scene in which Hynkel
performs a dance with a globe of the world. This sce-
The film begins with this title: “This is a story of a pe- ne, which stands with the very best set pieces of
riod between two World Wars—an interim in which Chaplin’s silent films, requires no words to convey its
Insanity cut loose, Liberty took a nose dive, and message. Accompanied by the delicate, dreamy prel-
Humanity was kicked around somewhat.” It is fol- ude to Act I of Wagner’s “Lohengrin” (Hitler’s favorite
lowed by a prologue, set in World War I, in which the Wagnerian opera), Hynkel performs a graceful, se-
Jewish Barber fights as a patriotic, although ineffec- ductive ballet with a balloon globe, a wonderful sym-
tive, Tomanian soldier. This sequence, reminiscent bol of his maniacal dream of possessing the world for
of Chaplin’s World War I comedy “Shoulder his pleasure. Yet when he believes he has it within
Arms” (1918), contains elements of nightmarish vio- his grasp, the bubble literally bursts. This is Chaplin’s
lence as well as humor, a combination that occurs symbolic comment on the futility of the dictator’s as-
pirations and reflects his optimistic belief that dicta- Chaplin’s most profitable film up to that time earning
tors will never succeed. $5 million dollars worldwide in its original release.

Probably the most famous sequence of “The Great Despite being firmly fixed in the time in which it was
Dictator” is the five-minute speech that concludes made, “The Great Dictator” continues to have tre-
the film. Here Chaplin drops his comic mask and mendous impact and hold on audiences. The film
speaks directly to the world, conveying his view that was reissued by United Artists in 1958, the year it
people must rise up against dictators and unite in was first seen in Germany and Italy, and was first
peace. The most enduring aspects of the final shown in Spain in 1976. Critical opinion of the film,
speech are its aspirational quality and tone and its particularly of the final speech, has risen greatly in
underlying faith in humanity. Chaplin sketches a the estimation of critics, historians, and audiences
hopeful future in broad strokes and leaves the imple- since that time. In 1989, the centenary of Chaplin’s
mentation of his vision to others, despite the fact that birth, “The Great Dictator” opened the Moscow Inter-
the more unsavory aspects of human nature may national Film Festival, the first vintage film so hon-
prevent mankind ever reaching his promised utopia. ored. In 2002, “The Great Dictator” was hailed as a
Although some may find Chaplin’s message cliché, masterpiece, closing the Berlin Film Festival only a
and even frustrating, one cannot help but be moved few hundred yards from where Hitler committed sui-
by the prescience of his words and the appeal of his cide in his bunker.
powerful indictment of all who seek to take power
unto themselves to the detriment of everyone else. Adolf Hitler was disturbed when he heard Chaplin
The final speech of “The Great Dictator” remains rel- was at work on “The Great Dictator,” and there is
evant and valuable in the twenty-first century and evidence that Hitler actually saw the film. According
likely will remain so as long as conflict corrupts hu- to an agent who fled Germany after working in the
man interaction and despots endure. film division of the Nazi Ministry of Culture, Nazi au-
thorities procured a print and Hitler screened the film
With the exception of “Gone With the Wind” (1939), one evening in solitude. The following evening he
no other film of the period was met with such antici- again watched the film all by himself. That is all the
pation as “The Great Dictator.” The contemporary agent could tell Chaplin. In relaying the anecdote,
press was generally favorable toward the film follow- Chaplin said, “I’d give anything to know what he
ing the world premiere in New York City at two thought of it.” Whatever Hitler thought of Chaplin’s
Broadway theaters—the Capitol Theatre and Astor “The Great Dictator,” the film survives as cinema’s
Theatre—simultaneously on October 15, 1940. Alt- supreme satire and one of Chaplin’s most important
hough Bosley Crowther, film critic for the ”New York and enduring works.
Times,” thought the film too long and somewhat rep-
etitious, he nevertheless wrote a very strong review The views expressed in these essays are those of the author and do not
noting it to be “…a truly superb accomplishment by a necessarily represent the views of the Library of Congress.
truly great artist—and, from one point of view, per-
haps the most significant film ever produced.”
Essay by Jeffrey Vance, adapted from his book Chaplin:
“The Great Dictator” cost $1,403,526 making it one Genius of the Cinema (New York: Harry N. Abrams,
of Chaplin’s most expensive films. It was an enor- 2003). Jeffrey Vance is a film historian, archivist, and au-
mous gamble, as the film did not have the interna- thor of the books Douglas Fairbanks, Chaplin: Genius of
tional distribution his silent films had enjoyed. The the Cinema, Harold Lloyd: Master Comedian, and Buster
film was banned throughout occupied Europe, in Keaton Remembered (with Eleanor Keaton). He is widely
parts of South America, and in the Irish Free State. regarded as one of the world’s foremost authorities of
Nevertheless, “The Great Dictator” became Charles Chaplin.

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