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Since Adolf Hitler had the audacity to borrow his mustache from the most famous celebrity in the world--Charlie Chaplin--it meant Hitler was fair game for Chaplin's comedy. (Strangely, the two men were born within four days of each other.) The Great Dictator, conceived in the late thirties but not released until 1940, when Hitler's war was raging across Europe, is the film that skewered the tyrant. Chaplin plays both Adenoid Hynkel, the power-mad ruler of Tomania, and a humble Jewish barber suffering under the dictator's rule. Paulette Goddard, Chaplin's wife at the time, plays the barber's beloved; and the rotund comedian Jack Oakie turns in a weirdly accurate burlesque of Mussolini, as a bellowing fellow dictator named Benzino Napaloni, Dictator of Bacteria. Chaplin himself hits one of his highest moments in the amazing sequence where he performs a dance of love with a large inflated globe of the world. Never has the hunger for world domination been more rhapsodically expressed. The slapstick is swift and sharp, but it was not enough for Chaplin. He ends the film with the barber's six-minute speech calling for peace and prophesying a hopeful future for troubled mankind. Some critics have always felt the monologue was out of place, but the lyricism and sheer humanity of it are still stirring. This was the last appearance of Chaplin's Little Tramp character, and not coincidentally it was his first all-talking picture. --Robert Horton
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Most Helpful Customer Reviews
57 of 59 people found the following review helpful
Format:DVD
Say what you like about this film: it's too preachy, it's not focused, it's this, it's that, say whatever you like.
The facts, however, say it all.
This film was made at a time when most of America was anti-semitic, when no one wanted to think of getting involved with Europe's affairs, and when Chaplin's own art of pantomime had been lost in the onslaught of 'talkies'.
And for Chaplin to choose *this* premise for his farewell to the little Tramp-- turning his Tramp into a Jew and turning himself into Adolf Hitler-- well, it's nothing short of daring.
For those that prefer Charlie as just the funny little fellow, and not his serious side, there's enough slapstick in this film to satisfy even them: the comedic highs are the moments when no words are needed-- the misplaced grenade, the dance with the globe, or the shaving scene to Brahm's Hungarian Dance. But the film IS at its best when Chaplin's Adenoid Hynkel is shown as a stark raving madman, and he with Jack Oakie's 'Napaloni' expose the true ridiculousness and lunacy of it all.
Cynics have been known to call this film 'preachy', but as far as I'm concerned, it was awful gutsy of Chaplin to speak out on the issue-- and not just speak out, but to point a finger right in the face of Fascism and to charge it as a 'blunder' of humanity. For him to be *successful* in making us laugh on a subject that, in its essence, is not funny in the least really is a testimony to his abilities as an actor.
His other films may be better than this one, and it's not my personal favorite of his work, BUT: **this** is the film that made Charlie a hero in my eyes. And that sort of passion for speaking out in what you believe deserves Five stars anyday!
37 of 38 people found the following review helpful
One of the greatest satires ever filmed and Chaplin's most fully realized comedy. A beautiful blend of the usual Chaplin slapstick and pathos along with a very effective social and political commentary. Charlie is Adenoid Hynckle, dictator of an only slightly fictional country of Tomania. He also plays a Jewish ghetto barber. Both are played with such impeccable accuracy that to distinguish between them is extremely easy.Names are changed but this film is still the most effective film of Nazi Germany and Hitler's thankfully aborted attempt to take over the world. Chaplin's script never gets too preachy at least without an equal dose of satire. His approach is to make people laugh while teaching them at the same time. Nowhere is this more apparent than in his final monologue. After a predictable mistaken identity episode, Chaplin as the unnamed Jewish barber speaks of the horrors of Nazism. This climazes what may be the greatest performance in the history of comedy films. The greatest because it does more than simply make us laugh-it makes us think. The film earned Chaplin well deserved Oscar nominations for Best Picture, Screenplay and Actor. This is a film you must see.
43 of 49 people found the following review helpful
Format:DVD
When Chaplin began planning his next film in 1937, criticizing the rise of fascism in Europe and condemning the treatment of the Jewish people under Adolf Hitler were controversial ideas, although they would become more accepted by the time of the film's eventual release in 1940. Chaplin stated in later years that he would not -- could not -- have joked about conditions in Germany had he known the full extent of the Holocaust. But this was an important film to be made. When the world was hemming and hawing over what to do about this great evil, Chaplin didn't back down. Maybe not all of the comedy is as successful as it could have been, but the movie's heart is definitely in the right place.
The film is divided roughly in half, with Chaplin playing the starring role in each segment (I've never understood the opening disclaimer stating that the resemblance of the dictator and the Jewish barber is entirely coincidental; the final portion of the film depends precisely on their similarity). The first role is the most obvious, given Chaplin's familiar mustache and general appearance. He plays Adenoid Hynkel, a very thinly veiled impersonation of Adolf Hitler. Chaplin's motivation appears to make Hitler look like a goofball -- the target of ridicule. He falls down stairs, he flies into a rage when his office supplies don't function correctly, and he plays a childish game of one-upmanship with his "brother dictator", Benzino Napaloni of Bacteria. In one of the film's most memorable sequences, he performs a dance with a globe of the Earth, happily gazing at all which he hopes to conquer. It's a bizarrely wonderful moment -- funny, frightening and beautifully directed. And it surely can't be by chance that in the first shot of the globe itself, the Western Hemisphere -- the United States of America -- is what is pointed at the camera.
The other part of the film is ultimately the most moving, especially from a modern day perspective. Chaplin's tramp had always been the everyman -- the little guy up against the world. Surely there had not been a more beloved character in the history of film than the diminutive beggar with his ill-fitting costume. Gaining sympathy for his cause is simplicity itself; take this adored tramp who has entertained millions and turn him into a Jewish barber living in central Europe. Seeing this wonderful and charming character thrown into the horrors of a ghetto in Germany during WWII is shocking. It's almost inconceivable to imagine the fictional tramp existing in the same world as the horrors of Nazi Germany. In earlier films, we never really feared for the tramp's safety; we always knew he'd figure some way out of trouble. But here, he's powerless. He must run away. He can't simply kick the policeman in the butt and scamper to victory. It's a subtle but important difference from his other films. His adversaries until now had been easily defeated heavies. But now he's up against something horrible and real. He's dragged across a street, beaten and almost hanged by stormtroopers. The word "Jew" is painted on the front of his shop. His home is burnt to the ground. He retains his humor, his hope and his will to fight, but he needs the world's help -- which is one of the movie's messages.
Chaplin's final speech, where he breaks character and vehemently decries fascism, hate and bigotry, has been called overwrought and schmaltzy. I disagree. I get goose bumps every time I hear it. As one of the interviewees on the DVD documentary states, "He said what had to be said." It's fascinating from a historical point of view. There are plenty of propaganda films from WWII (which is what this basically is when you boil down to it), but how many of them appeal to basic human decency instead of blunt patriotism?
One of the DVD extras is a documentary, THE TRAMP AND THE DICTATOR, produced by Turner Classic Movies. This is actually really good. Showing footage from the movie next to newsreels of Hitler just goes to demonstrate how spot-on Chaplin's impersonation was. Fascinating is the inclusion of excerpts from one of the worst Nazi propaganda films ("The Eternal Jew" -- a hateful piece of appalling racism) which features Chaplin's 1931 visit to Berlin and denouncing him in a series of racial epitaphs. The discussion as to the appropriateness of laughing about something evil as Hitler is touched on and the topic is worthy of debate.
Also included is some recently discovered color footage shot on the set of the film by Charlie's brother, Sydney. It's also included in its entirety as an extra, but it works better when excerpts are seen in the documentary. The footage by itself is relatively boring for most of the time; the documentary uses the most interesting material. On the other hand, I was amused by Sydney Chaplin's focusing in on seemingly every woman present during the filming of the ballroom dance scene.
The movie does have its weak points. The WWI portions are more silly than genuinely funny (though I've mellowed to the upside-down airplane gag the more times I've seen it). And although Jack Oakie's performance as a Mussolini-clone was inspired, one feels that the movie is biting off more than it can chew by including both dictators. As a result, some portions dealing with their relationship drags. So too does the whole Commander Schultz subplot. Additionally, a lot of the humor seems somewhat stuck between being silent and being talkie. But for all of the flaws, this is still an excellent movie that I appreciate it a little more on each viewing. Perhaps not the best Chaplin film, but it definitely has something to say.
The film is divided roughly in half, with Chaplin playing the starring role in each segment (I've never understood the opening disclaimer stating that the resemblance of the dictator and the Jewish barber is entirely coincidental; the final portion of the film depends precisely on their similarity). The first role is the most obvious, given Chaplin's familiar mustache and general appearance. He plays Adenoid Hynkel, a very thinly veiled impersonation of Adolf Hitler. Chaplin's motivation appears to make Hitler look like a goofball -- the target of ridicule. He falls down stairs, he flies into a rage when his office supplies don't function correctly, and he plays a childish game of one-upmanship with his "brother dictator", Benzino Napaloni of Bacteria. In one of the film's most memorable sequences, he performs a dance with a globe of the Earth, happily gazing at all which he hopes to conquer. It's a bizarrely wonderful moment -- funny, frightening and beautifully directed. And it surely can't be by chance that in the first shot of the globe itself, the Western Hemisphere -- the United States of America -- is what is pointed at the camera.
The other part of the film is ultimately the most moving, especially from a modern day perspective. Chaplin's tramp had always been the everyman -- the little guy up against the world. Surely there had not been a more beloved character in the history of film than the diminutive beggar with his ill-fitting costume. Gaining sympathy for his cause is simplicity itself; take this adored tramp who has entertained millions and turn him into a Jewish barber living in central Europe. Seeing this wonderful and charming character thrown into the horrors of a ghetto in Germany during WWII is shocking. It's almost inconceivable to imagine the fictional tramp existing in the same world as the horrors of Nazi Germany. In earlier films, we never really feared for the tramp's safety; we always knew he'd figure some way out of trouble. But here, he's powerless. He must run away. He can't simply kick the policeman in the butt and scamper to victory. It's a subtle but important difference from his other films. His adversaries until now had been easily defeated heavies. But now he's up against something horrible and real. He's dragged across a street, beaten and almost hanged by stormtroopers. The word "Jew" is painted on the front of his shop. His home is burnt to the ground. He retains his humor, his hope and his will to fight, but he needs the world's help -- which is one of the movie's messages.
Chaplin's final speech, where he breaks character and vehemently decries fascism, hate and bigotry, has been called overwrought and schmaltzy. I disagree. I get goose bumps every time I hear it. As one of the interviewees on the DVD documentary states, "He said what had to be said." It's fascinating from a historical point of view. There are plenty of propaganda films from WWII (which is what this basically is when you boil down to it), but how many of them appeal to basic human decency instead of blunt patriotism?
One of the DVD extras is a documentary, THE TRAMP AND THE DICTATOR, produced by Turner Classic Movies. This is actually really good. Showing footage from the movie next to newsreels of Hitler just goes to demonstrate how spot-on Chaplin's impersonation was. Fascinating is the inclusion of excerpts from one of the worst Nazi propaganda films ("The Eternal Jew" -- a hateful piece of appalling racism) which features Chaplin's 1931 visit to Berlin and denouncing him in a series of racial epitaphs. The discussion as to the appropriateness of laughing about something evil as Hitler is touched on and the topic is worthy of debate.
Also included is some recently discovered color footage shot on the set of the film by Charlie's brother, Sydney. It's also included in its entirety as an extra, but it works better when excerpts are seen in the documentary. The footage by itself is relatively boring for most of the time; the documentary uses the most interesting material. On the other hand, I was amused by Sydney Chaplin's focusing in on seemingly every woman present during the filming of the ballroom dance scene.
The movie does have its weak points. The WWI portions are more silly than genuinely funny (though I've mellowed to the upside-down airplane gag the more times I've seen it). And although Jack Oakie's performance as a Mussolini-clone was inspired, one feels that the movie is biting off more than it can chew by including both dictators. As a result, some portions dealing with their relationship drags. So too does the whole Commander Schultz subplot. Additionally, a lot of the humor seems somewhat stuck between being silent and being talkie. But for all of the flaws, this is still an excellent movie that I appreciate it a little more on each viewing. Perhaps not the best Chaplin film, but it definitely has something to say.
Most Recent Customer Reviews
My 10 year old daughter loves this movie!
She first saw this movie on TCM and loved it soo much she asked for it for Christmas. She does not understand the historical significance but she loved all the gags and classic... Read more
Published 20 hours ago by cheidi
If You Only Buy One Charlie Chaplin Film, Make It This One
I've turned to classics for awhile. This is one of the most enduring classics of all. Charlie Chaplin plays two roles: the Phooey [fuhrer] Adenoid Hynkel and a mild-mannered Jewish... Read more
Published 6 days ago by Barbara Frederick
Historic Masterpiece
It took a brave and resolute Charlie Chaplin to produce such a movie at the time He did. For this reason alone it is worth watching, something which is enhanced by the subtlety of... Read more
Published 1 month ago by Hamish
Chaplin's first sound film
The Criterion Collection release of Charlie Chaplin's "The Great Dictator" is a very good release and contains many exclusive features. Read more
Published 2 months ago by Ted
Amazing Movie
Though not as funny as his silent films, this one has much more heart then most of his other ones though. Read more
Published 2 months ago by Aragorn2
Great Blu-ray
The Great Dictator is one of the best satires of all times--skewering Hitler's plans for world domination in general and his treatment of the Jewish population in specific. Read more
Published 4 months ago by P-F
The Tramp's gutsy stand
The Great Dictator (1940), released to DVD and Blu-ray on May 24th, 2011 is the second of Charlie Chaplin`s features to receive the Criterion treatment, following 2010's release of... Read more
Published 5 months ago by THE BLUEMAHLER
When Charlie met Adolf...
Who but Charlie Chaplin could make a comedy about Nazis. But to call this film a mere comedy would be an injustice to it. Read more
Published 7 months ago by Ethan
One of the Greatest Speeches Ever Made was by a Comedian
I'm sorry but I don't want to be an Emperor, that's not my business. I don't want to rule or conquer anyone. Read more
Published 7 months ago by John Grove
Chaplin's Courageous Talkie Now in Blu-Ray Format!
This movie is special to me as I remember first watching it in the cinema years ago with my mum and it was among the very first few films that I had watched and even though I was... Read more
Published 7 months ago by Frederick Baptist
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