"The Great Dictator" is one of Charlie Chaplin's most dynamic and most entertaining films. His first speaking film, it allows him to add a level of verbal comedy and wit to his always-funny pantomime and physical comedy.
Playing a dual role both as megalomaniacal dictator Adenoid Hynkel (based on Adolf Hitler) and a
lowly Jewish barber from the ghetto, Chaplin, flexes his repertory performing talents to convince the viewer it could be different actors playing these roles. The barber character allows Chaplin to breathe new life into his well-known tramp character, complete with signature hat and cane. The Brahms shaving scene is so dynamic that even without a word of dialogue it stands the test of time to entertain viewers decades after its release.
Much of the film's intrigue comes from its symbolism. Beginning with the "double cross" symbol, playing on the Nazi swastika as well as the public being double-crossed, the movie goes on to explore the notion of how, as Caesar once said, "Absolute power corrupts absolutely". As Hynkel even notices when he says "you make me afraid of myself!" the world is not unlike the balloon prop Chaplin uses to entertain viewers; it may be fun to play with, but if you squeeze it too hard it will explode.
As an added bonus, the movie explores the notion of what can happen when two men with great power but even greater egos go against each other for control of the world. Arguing over military deployment and treaty negotiation, Hynkel and Italian dictator Benzini Napaloni (based on Benito Mussolini) quarrel at a complimentary buffet, but eventually settle their differences and remain friends. This, one could say, is a strong allegory to the uselessness of war and clueless nature of those with the power to start wars.
In delivering speeches in the character of Hynkel, Chaplin expresses the fire and intensity of an evil dictator while remaining absolutely ridiculous and entertaining. In preparing for his role, Chaplin spent a lot of time studying a lot of tapes of Hitler's speeches, mastering his posture, body language and voice inflection. Thus, the fire and malice of his messages are communicated, although if you listen closely you can hear Chaplin use such words as "schnitzel", "lederhosen", and other terms most Americans with little or no German training can understand. In addition, Chaplin "Germanizes" English phrases to make them sound more comical, such as "tighten-de-belten." But, never breaking character allows Chaplin to sell his portrayal. As true as it is today, it was the same in 1940, and even back in 1440: It's not what you say, it's how you say it.
Chaplin also excels in the directorial aspect of this movie. He uses many different aspects and strategies to portray the world that surrounds his storyline. Without utilizing very much in the way of camera movement, Chaplin uses other ways such as music - both diegetic and non-diegetic - as well as creative cuts and pantomime to change the movie from being words on a page of script into a living, breathing work of art. In the scene involving the coins within the puddings, each table member finds a coin, which would mean they would have to sacrifice themselves to police. Each person passes theirs to Chaplin, who subsequently tries to swallow each coin in order to hide it. As he eats the pudding and bites down to find a coin, a crescendo of music tells the viewer what has happened.
Another method pursued by Chaplin in making this movie is what is known as the "Kuleshov Effect". This occurs when a show is coordinated alongside a different shot or sound effects, and the viewer perceives a link between the two. When Hynkel and Napaloni are viewing the armies, the camera remains focused on the two dignitaries, adding in background noise. The viewer is told that the two are looking at fast planes, and the sound of a plane engine is accompanied by the two men turning their heads quickly, seemingly watching the planes fly across the sky. As the larger artillery is viewed, the viewer hears heavy clanking metal and the two heads of state turn their gaze much more slowly. This is the Kuleshov Effect at its best, because even though the two actors are staring at a film crew and the inside of a movie studio, the viewer is convinced the two are actually conducting a military review.
In Hynkel's final speech, actually delivered in the character of the Jewish barber, Chaplin uses camera-work to combine unlike shots as well. As he calls out to Hannah, his love, he looks to the sky. Simultaneously, she wakes up miles away, and looks to the sky as well. Although the two are miles away and there is no way that she can actually hear him calling to her, the viewer can't help but think that she can hear his voice carrying on the wind. This is Chaplin's directing at its best.
A must see classic
April 17, 2011
Top Critic
