By Tyler Jaewon Kim
Chaplin in The Great Dictator. Photo credit: Public Domain.
In partnership with Le Havrealisation.
The modern film landscape is, sometimes unfairly, oft-maligned as being increasingly political. Simply put, a common criticism of movies today is that they are “too woke.” Be it the two largest Hollywood blockbuster films of last summer – “Barbie” and “Oppenheimer” – or other contemporary international films such as “Parasite” (2020), many critically acclaimed films of the last decade have had this low-hanging criticism levied against them.
But this is simply not true. Art is inherently political, and film is an artistic medium. Films have, from the very beginning, been used as the conduit through which directors can convey their personal political messages. Nowhere can this be seen more than in Charlie Chaplin’s 1940 film “The Great Dictator.”
Chaplin’s first full talkie (sound film) tells the story of two men at opposite ends of the fictional European nation of Tomainia: its fascist dictator Adenoid Hynkel (a less-than subtle stand-in for Adolf Hitler) and a lowly unnamed Jewish barber readapting to life after World War I in the ghetto. The catch? Both men are played by Chaplin and thus look exactly the same.
Chaplin’s combination of wry humor with social commentary extends beyond the simple premise of the movie. Chaplin, whose name is synonymous with the golden age of silent-era comedies, frequently lampoons the follies of totalitarianism with his signature slapstick comedy.
Hynkel’s runtime is filled with farcical acts such as having an extended “ballet” sequence with an inflated globe or by getting in a food fight with Benzino Napaloni of Bacteria (a parody of Benito Mussolini). On the other hand, the Jewish barber’s continuous optimism and perseverance in the face of extreme adversity serves as the crux of the film’s emotional center. His friendships and relationships develop (albeit sometimes a bit too slowly) over the two hour runtime and culminate in one of the most rousing monologues in film history.
It is important, however, to remember the context in which this film was made. Writing began shortly after Hitler had recently received the Time Person of the Year award, prior to the German invasion of Poland and before the full extent of Nazi Germany’s crimes throughout the Holocaust was generally known (Chaplin himself later stated that the film would not have been made had he known).
Ultimately, “The Great Dictator” has aged surprisingly well in an era where its fundamentally anti-fascist message is, unfortunately, much-needed. Though it may poke fun at one of the darkest moments of human history, Chaplin’s appeal for humanity shines through and enshrines the final product as a testament to the power of film as both an artistic and political tool.
Le Dragon Déchaîné 