Brandon Comments:
Ahh, the winds of change stirred up more than just temperate weather for Movie Night — it stirred up temperate weather in politics, as well, and Mr. Davis’ pick for the evening was quite apropos.
Having not seen ‘The Great Dictator’ in 15 years, and never seeing it on anything larger than a 20-inch TV, I was delighted to hear someone shout out the title before the credits even ran. Truth be told, I was all set for another horror-related encore film from the previous week, but after hearing Mr. Davis’ prelude to the film, complete with stunning political facts and up-to-the-minute news of the Democrats taking the Senate, I was eager to “get my Chaplin on!”
‘The Great Dictator’ is a terrific film, although I must admit that some of Chaplin’s shticks lose their glamour with voices attached to them. His prior silent films conveyed messages through body language, not verbal language. And with Chaplin now using both body and verbal communication to tell a story, it felt like they somehow, at times, cancelled each other out. But, I must admit, the best part of watching ‘The Great Dictator’ last night was listening to Davis chuckle and laugh throughout the film, elating the rest of us to do the same.
‘The Great Dictator’ is a wonderful movie, with a very strong message to tell. Chaplin concreted his stature as one of the bests with his writing, directing, and performing here. And his speech at the end of the film gave me shivers — not just by the words he shouted into the camera, not even the powerful message it conveyed — but the speech gave me shivers because it was a man screaming for help; no longer was he a comedian or an actor or even a filmmaker — at that moment Chaplin became the sword of justice. He spoke to audiences and individuals and demanded of us that we rise against tyranny and make our stand before it’s too late.
I only wish I could have seen this film when it was released in 1940, without the years and years of color, colorless actors, and colorful budgets that paint almost every film of my lifetime...as well as paint my judgement.
Netti Comments:
As a Charlie Chaplin fan I really love Buster Keaton. Not that Charlie Chaplin isn't to be respected, I certainly do. ‘The Great DIctator’ is definitely worthy of respect on its own. However, I find it to be a sloppy film. The storytelling is loose. The two stories leave each other for long periods of time. The jokes are hot and cold. The characterization of Hynkel (Hitler) was repetitive as was Napaloni. On the whole I just didn't find it to be a film that knew where its center was. That being said, there are a few moments that are simply stunning. The shaving to the Brahms Hungarian Dance and most notably the Hynkel dance with the globe. I think it is in this moment that the film excels. But how many moments of absurdity such as this can be garnered with this subject matter. The ending speech was a sobering moment, as it was here that you saw the true invocation of Hitler's mannerisms and demeanor, however, it was with a positive message rather than one of hate and division.
As for the quality of the pick, I wonder. On the heels of the democratic sweep of the house, senate, and a dozen governorships it was rim shot at best. An uplifting ‘Mr. Smith Goes to Washington’ was suggested. ‘State of the Union’ to name another. Anything that posits the victory of the progressive over the conservative? Well, here's where it gets good, in my mind anyway. At the end, when the Jewish Barber is walking up to the dais to speak, there was a ripe tension developing. For me, I was thinking that Jewish Barber was going to deliver an impression of Hynkel in order to save his ass. However, he does not. He delivers a speech from the heart. One has to believe, at least in the context of our present day knowledge of the events of WWII, that this moment was a a dream of many people at that time. People who were already suffering greatly or fearing that they eventually would under fascism, all had a moment where they imagined the improbable: A moment when Hitler would wake up and realize what it was that he was unleashing on the world. A moment when he recognized his own humanity. And suddenly, without warning he would say “it’s over. Forget it. I won't continue. Tell your families that they are safe and that this kind of evil doesn't really exist in the world.” I won't compare Bush to Hitler, but I will say after this election we might wake up from our own sleep and realize that reason and discretion can once again become the norm of public discourse.
Variety’s 1940 Review:
[Editor’s Note: This review was submitted by Mr. Wiener in response to post screening questions about the period reaction to this film. While this doesn’t count as a Wiener review, it may be interesting to follow his lead and include a period review to our comments moving forward. It is interesting to note that Variety completely snubbed Paulette Goddard.]
Chaplin makes no bones about his utter contempt for dictators like Hitler and Mussolini in his production of The Great Dictator. He takes time out to make fun about it, but the preachment is strong, notably in the six-minute speech at the finish.
Chaplin speaks throughout the film, but wherever convenient depends as much as he can on pantomime. His panto has always talked plenty.
Chaplin plays a dual role, that of a meek little Jewish barber in Tomania and the great little dictator of that country, billed as Hynkel. It's when he is playing the dictator that the comedian's voice raises the value of the comedy content of the picture to great heights. He does various bits as a Hitler spouting at the mouth in which he engages in a lot of double talk in what amounts to a pig-Latin version of the German tongue, with grunts thrown in here and there, plus a classical 'Democracy shtoonk'. On various occasions as Hitler he also speaks English. In these instances he talks with force, as contrasted by the mousey, half-scared way he speaks as the poor barber.
Somewhat of a shock is the complete transformation of the barber when he delivers the speech at the finish, a fiery and impassioned plea for freedom and democracy. It is a peculiar and somewhat disappointing climax with the picture ending on a serious rather than a comical note.
The vast majority of the action is built around Hynkel and the Jewish barber. Not so much is devoted to the dictator who is Napaloni (Mussolini). Jack Oakie plays the satirized Duce to the hilt and every minute with him is socko.
In making up the billing, Chaplin has displayed an unusually keen sense of humor. While Hynkel is the dictator of Tomania, Napaloni is the ruler of Bacteria. Tomania higher-ups include Garbitsch (Goebels) and Herring (Goering). These are played effectively by Henry Daniell and Billy Gilbert.
Wiener Comments:
SELECTOR Comments:
‘The Great Dictator’ is a monument to artistic expression and freedom of speech. We live in a world today where ‘Syriana’ is considered a significant political film, and “artists” seem to only speak out when they are accepting an award or sitting across the table from Bill Maher. I have always thought that those who choose to be artists should spend less time talking about their world views and more time creating art that expresses how they feel.
As Hitler rose to power, more and more people remarked about the similar appearance of Chaplin’s Tramp character with the despot, so I suppose it was a only matter of time that Chaplin would find a way to remark about that coincidence. I understand as well, that Hitler repeatedly referred to Chaplin as a Jew in the media. Though Chaplin was not Jewish, he never once disputed claims that he was. I call that character.
In this film, we see an artist who has something to say. He is not at a podium accepting an award - he is hard at work. In the end ‘The Great Dictator’ is not a perfect film, far from it, but it is honest, courageous, and personally inspiring. Chaplin makes us laugh at one of the greatest horrors of the 20th century and in doing so, he gives us power over our fears. Hitler, Chaplin realized, could be deflated by humor more readily than any bomb. He spends the bulk of the film making the man ridiculous, and making the Ghetto human. That he had the vision and power to do this in 1940 is staggering.
Ultimately, ‘The Great Dictator’ drives towards the incredible speech that finishes the film. All that comes before the speech earns the five minute diatribe. It is among the most stirring oratories I have ever heard, and just thinking it was written and delivered by the greatest star of the silent era gives me goose bumps. ‘The Great Dictator’ is a major contribution from an artist who channeled his talents speak his mind. I give that more weight than anything our outspoken artists have to say today.
I chose this film to honor both our 50th Selection and the wonderful election. I hope it was enjoyed. I’m looking forward to the next 50, and to seeing another great dictator’s dreams deflated like a popped balloon.
_124_Minutes_files/shapeimage_4_link_0.png)
