20 years after the end of WWI, in which the nation of Tomainia was on the losing side, Adenoid Hynkel has risen to power as the ruthless dictator of the country. He believes in a pure Aryan state and the decimation of the Jews. This situation is unknown to a simple Jewish Tomainian barber who has been hospitalized since a WWI battle. Upon his release the barber, who had been suffering from memory loss about the war, is shown the new persecuted life of the Jews by many living in the Jewish ghetto, including a washerwoman named Hannah with whom he begins a relationship. The barber is ultimately spared such persecution by Commander Schultz, whom he saved in that WWI battle. The lives of all Jews in Tomainia are eventually spared with a policy shift by Hynkel himself, who is doing so for ulterior motives. But those motives include a desire for world domination, starting with the invasion of neighboring Osterlich, which may be threatened by Benzino Napaloni, the dictator of neighboring ... Written by
When Jack Oakie (Benzini Napaloni) first visits Adenoid Hynkel (Charles Chaplin) in his palace, Oakie greets Chaplin with a Yiddish expression, which, loosely translated, means "How's it going?" See more »
(at around 42 mins) When Hynkel opens the filing cabinet behind his desk to reveal and look into the full length mirrors inside of it, the studio lights can briefly be seen reflected in them. See more »
Note, any resemblance between Hynkle the Dictator and the Jewish Barber is purely co-incidental.
This is a story of a period between two World Wars - an interim in which Insanity cut loose. Liberty took a nose dive, and Humanity was kicked around somewhat.
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The film is obviously a satire on Adolf Hitler, represented by Adenoid Hynkel, and its story is based on Hynkel looking exactly like "a Jewish barber": both are played by Charles Chaplin. But it begins with a notice: "Any resemblance between Hynkel the dictator and the Jewish barber is purely co-incidental". See more »
Aside from giving this film its proper socio-historical credit as one of only 2 U.S films which condemned Hitler, Naziism and the Holocaust prior to U.S. involvement in WWII, it's a great time as well. Much of the humor remains visual, and some of the funniest (and most famous) scenes are done in the silent mode (e.g. the globe). Although a bit more lacking in continuity and editing than many of Chaplin's earlier films, to do it credit simply as a passable first effort at a new medium is to damn it with faint praise. It's unique. No serious student of film can neglect to see and appreciate The Great Dictator as a classic amalgam of film talents.
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