Twenty years after the end of WWI in which the nation of Tomainia was on the losing side, Adenoid Hynkel has risen to power as the ruthless dictator of the country. He believes in a pure Aryan state, and the decimation of the Jews. This situation is unknown to a simple Jewish-Tomainian barber who has since been hospitalized the result of a WWI battle. Upon his release, the barber, who had been suffering from memory loss about the war, is shown the new persecuted life of the Jews by many living in the Jewish ghetto, including a washerwoman named Hannah, with whom he begins a relationship. The barber is ultimately spared such persecution by Commander Schultz, who he saved in that WWI battle. The lives of all Jews in Tomainia are eventually spared with a policy shift by Hynkel himself, who is doing so for ulterior motives. But those motives include a want for world domination, starting with the invasion of neighboring Osterlich, which may be threatened by Benzino Napaloni, the dictator ... Written by
For the first time in years, Charles Chaplin brought in a new director of photography, Karl Struss, to work with his usual cameraman, Roland Totheroh. He did so at the urging of his brother, Syd, who felt that Totheroh's techniques were behind the times. Struss quickly learned that the director preferred to shoot scenes as though they were being performed on stage. He finally convinced Chaplin to let him shoot the scenes from two cameras at once, placed at different angles, to make it easier to edit the film. See more »
(at around 17 mins) After Hynkel's "Tighten our belts" remark, Herring tightens his belt, which breaks when he sits down. However whenever we see Herring for the rest of the scene, his belt is intact. See more »
Note, any resemblance between Hynkle the Dictator and the Jewish Barber is purely co-incidental.
This is a story of a period between two World Wars - an interim in which Insanity cut loose. Liberty took a nose dive, and Humanity was kicked around somewhat.
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The film is obviously a satire on Adolf Hitler, represented by Adenoid Hynkel, and its story is based on Hynkel looking exactly like "a Jewish barber": both are played by Charles Chaplin. But it begins with a notice: "Any resemblance between Hynkel the dictator and the Jewish barber is purely co-incidental". See more »
Released in 1940, "The Great Dictator" was the first Hollywood film that denounced Hitler directly (albeit in the guise of Adenoid Hynkel), took a virulent stand against fascism, and directly addressed Anti-Semitism.
Over-long, at times heavy-handed, it still has many wonderful sequences, including the famous dance with the globe, and all the scenes of Chaplin with Jack Oakie, each trying to out-do the other and prove his superiority.
One criticism that seems to occasionally rear its head is the implication that Chaplin's pre-World War II anti-fascism was somehow wrong-headed. The atrocities of the Holocaust weren't fully known to the world yet, so Chaplin's anti-Hitler diatribe is, in the minds of some, misguided. After the war this mindset would result in the debacle of the blacklist, when Chaplin, among others, were branded "pre-mature anti-fascists." In other words, it wasn't politically acceptable to be against Nazism until war broke out with the U.S. Hard to believe anyone could still see things that way now, but some do.
The film industry of the 1930s wanted no part of international politics, no matter how blatant the brutality of a given regime. Profits were at stake. It was little goyisha Charley Chaplin, playing a Jewish barber, who took a public stand.
While "The Great Dictator" may not among Chaplin's finest films, it may, historically, be his finest hour.
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