The Great Dictator, A Cultural Review

The film begins in media res, during the end of World War I, in a fictional country. Chaplin, who plays both main characters, is introduced in his Jewish role as part of the military. As one can imagine, Chaplin begins with a rousing series of hilarious stunts and comedic situations. After a while however, Chaplin finds himself in a plane, which subsequently crashes, leaving him in a coma which is to last twenty years.
We are next introduced to Chaplin’s other role, that of the diminutive dictator of the land. Here he gives a rousing speech to the public, in which Chaplin blatantly begins his propagandic agenda, as Hinkle, the dictator, outlines his visions for the country, most of which are far from the individual freedoms of America. We then move back to the Ghetto where our little Jew has just woken up from his condition and returns to his shop. Not knowing what is going on he gets him self into many a situation. He can not win them all though, and he is finally caught, but is saved by one of his old friends from the war. The persecution stops, however, near the middle of the film. This is due to Hinkle wanting a loan from a Jewish banker.
At this point we see a lull in the action, giving time to further explore Hinkle’s character and give the Jews hope for the future. This is, of course, short lived, and soon everything returns to the way it was in the beginning. Next we are introduced to two more characters that help to move the plot along. The first is one of Hinkle’s officers, coincidentally the one that saved the Jew in the beginning, and another dictator, whom I can only imagine is a farce of Mussolini.
Thus we move on to the next part of the film, in which the Jews, and their new found officer friend, hide from the storm troopers and the two dictators solve their differences. The movie moves closer to its climax with the capture of Chaplin’s Jew and our treasonous officer, subsequent fleeing of the rest of the Jews, and Hinkle’s first invasion. Our two prisoners escape by impersonating actual officers and end up at Hinkle’s conquering speech. It is at this time that Chaplin, in a way, makes the movie into the masterpiece it is. For Chaplin the Jew and Chaplin the dictator, through ridiculously funny escapades, switch places. And at that moment, Chaplin addresses the audience himself, imploring them to fight, in any way they can, against the evils of dictatorship.
As I mentioned before, there are many times when the drama really takes away from the comedy. This is due to the fact that, it really would be a slight to the oppressed people in Germany to make light of their troubles in such a fashion. Therefore Chaplin gives them their due, and at the same time, tries to bring to light the reality of their suffering. Still, I would have to say it would have been funnier if he had not worried about all those pesky morals, just not as good.
The film is old, however. The lack of color, perfect picture, and dramatic special effects, does inhibit the film slightly. But really, it is a testament to the film maker that it still exists nearly a century later. I mean I am sure there were plenty of films made at the time, and I am sure they were alright in there fashion, but just not good enough to beat time. Plus it makes fun of the Nazis; everybody enjoys making fun of the Nazis. Now a days we would probably make fun of Middle Eastern terrorists instead, but it is still a pretty funny movie.
The film’s comedic elements were mostly composed with a definite slapstick style, as we can see with the multiple trips, crashes, and of course, frying pans to the head. The film did use a small smattering of situational comedy, for example, when everyone thinks the Jewish main is actually Hinkle. But I would argue that even some of the displays of situational comedy, had elements of slapstick. This can be seen in pieces like the coins in the pudding scene, where the hilarity is certainly situational, but still has a definite element of slapstick in the characters’ reactions.
Another important aspect of the film lies in the fact that is Chaplin’s first with verbal dialogue that you can actually hear. This certainly puts a new spin on his previous style, but one which he uses to great effect. You see, the variety of voices in itself can be funny, something that, obviously, was not used in previous films. A character’s voice also can be used to tell something about that character. The Jewish barber’s soft spoken verbage, versus Hinkle’s constant yelling, for example. But the most important aspect of using this technology, at least for this film’s purposes, is that it makes the ending speech possible. There is no way Chaplin could have gotten his message across in such a powerful fashion using inter-tiles.
All of these aspects come together to make the film into the popular piece that it was in the 1940’s and survive till today. Between Chaplin’s own unique style of comedy and the clamor over the new technology employed, there could be no doubt. Even more so than perhaps both of these things, the film was poking fun at Nazi Germany. That was perfect for the time period. That is what everyone was doing anyway, but then it was on the big screen. Everyone wanted to go see it.
In the end, the film remains a masterpiece in its own category. Not entirely comedic. Not entirely dramatic. Simply unique. Chaplin truly out did himself on this one. For the film not only entertains, but gives a message. A message of freedom, integrity, and the importance of both.