The Great Dictator
The Great Dictator | |
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Directed by | Charlie Chaplin |
Written by | Charlie Chaplin |
Produced by | Charlie Chaplin |
Starring | |
Cinematography | |
Edited by |
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Music by |
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Production company | |
Distributed by | United Artists |
Release date |
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Running time | 125 minutes[1] |
Country | United States |
Language | English |
Budget | $2.2 million[2] |
Box office | $5 million (worldwide rentals)[3] |
The Great Dictator is a 1940 American
Chaplin's film advanced a stirring condemnation of the German and Italian dictators Adolf Hitler and Benito Mussolini, as well as fascism, antisemitism, and the Nazis. At the time of its first release, the United States was still at peace with Nazi Germany and neutral during what were the early days of World War II. Chaplin plays both leading roles: a ruthless fascist dictator and a persecuted Jewish barber.
The Great Dictator was popular with audiences, becoming Chaplin's most commercially successful film.[4] Modern critics have praised it as a historically significant film, one of the greatest comedy films ever made and an important work of satire. Chaplin's climactic monologue has frequently been listed by critics, historians and film buffs as perhaps the greatest monologue in film history, and possibly the most poignant recorded speech of the 20th century.[citation needed] In 1997, it was selected by the Library of Congress for preservation in the United States National Film Registry as being "culturally, historically, or aesthetically significant".[5][6] The Great Dictator was nominated for five Academy Awards – Outstanding Production, Best Actor, Best Writing (Original Screenplay), Best Supporting Actor for Jack Oakie, and Best Music (Original Score).
In his 1964 autobiography, Chaplin stated that he could not have made the film if he had known about the true extent of the horrors of the Nazi concentration camps at that time.[7]
Plot
On the Western Front in 1918, a Jewish soldier fighting for the Central Powers nation of Tomainia[8] valiantly saves the life of a wounded pilot, Commander Schultz, who carries valuable documents that could secure a Tomainian victory. However, after running out of fuel, their plane crashes into a tree and the soldier subsequently suffers memory loss. Upon being rescued, Schultz is informed that Tomainia has officially surrendered to the Allied Forces, while the Jewish soldier is carried off to a hospital.
Twenty years later, still suffering from amnesia, the Jewish soldier returns to his previous profession as a barber in a ghetto. The ghetto is now governed by Schultz who has been promoted in the Tomainian regime, now transformed into a dictatorship under the ruthless Adenoid Hynkel.
The barber falls in love with a neighbor, Hannah, and together they try to resist persecution by military forces. The stormtroopers capture the barber and are about to kill him, but Schultz recognizes him and restrains them. By recognizing him, and reminding him of World War I, Schultz helps the barber regain his memory.
Meanwhile, Hynkel tries to finance his ever-growing military forces by borrowing money from a Jewish banker called Hermann Epstein, leading to a temporary ease on the restrictions on the ghetto. However, ultimately the banker refuses to lend him the money. Furious, Hynkel orders a purge of the Jews. Schultz protests against this inhumane policy and is sent to a concentration camp. He escapes and hides in the ghetto with the barber. Schultz tries to persuade the Jewish family to assassinate Hynkel in a suicide attack, but they are dissuaded by Hannah. Troops search the ghetto, arrest Schultz and the barber, and send both to a concentration camp. Hannah and her family flee to freedom at a vineyard in the neighboring country of Osterlich.
Hynkel has a dispute with the dictator of the nation of
Escaping from the camp in stolen uniforms, Schultz and the barber, dressed as Hynkel, arrive at the Osterlich frontier, where a victory parade crowd is waiting to be addressed by Hynkel. The real Hynkel is mistaken for the barber while out duck hunting in civilian clothes and is knocked out and taken to the camp. Schultz tells the barber to go to the platform and impersonate Hynkel, as the only way to save their lives once they reach Osterlich's capital. The barber has never given a public speech in his life, but he has no other choice. He announces that he (as Hynkel) has had a change of heart, he makes an impassioned speech for brotherhood and goodwill, encouraging soldiers to fight for liberty, and unite the people in the name of democracy.
He then addresses a message of hope to Hannah: "Look up, Hannah. The soul of man has been given wings, and at last he is beginning to fly. He is flying into the rainbow, into the light of hope, into the future, the glorious future that belongs to you, to me, and to all of us." Hannah hears the barber's voice on the radio. She turns toward the rising sunlight, and says to her fellows: "Listen."
Cast
People of the ghetto
- Charlie Chaplin as a Jewish barber in the ghetto, the main protagonist. The barber was a soldier during World War I and loses his memory for about 20 years. After having rescued Schultz during the war, he meets his friend again under radically changed circumstances.
- Paulette Goddard as Hannah, the barber's neighbor. She lives in the ghetto next to the barber shop. She supports the barber against the Tomainian stormtroopers.
- Maurice Moscovich as Mr. Jaeckel, an elderly Jew who befriends Hannah. Mr. Jaeckel is the renter of the barber salon.
- Emma Dunn as Mrs. Jaeckel
- Bernard Gorcey as Mr. Mann
- Paul Weigel as Mr. Agar
- Chester Conklin as the barber's customer
People of the palace
- Charlie Chaplin as Adenoid Hynkel, the main antagonist. Hynkel is the dictator, or "Phooey",[9] of Tomainia (a parody of Adolf Hitler, the Führer of Nazi Germany)[10] and attacks the Jews with his stormtroopers. He has Schultz arrested and has his stormtroopers hunt down the Jewish barber. Hynkel is later arrested by his own soldiers in the woods near the border, who mistake him for the Jewish barber.
- Napoleon Bonaparte).[10]
- Reginald Gardiner as Commander Schultz, a Tomainian who fought in World War I, who commands soldiers in the 1930s. He has his troops abstain from attacking Jews, but is arrested by Hynkel, after which he becomes a loyal ally to the barber. He later leads the invasion of Osterlich and helps the barber pretend to be Adenoid Hynkel in his (successful) attempt at saving Osterlich.
- Henry Daniell as Garbitsch, a parody of Joseph Goebbels,[10] and Hynkel's loyal and stoic Secretary of the Interior and Minister of Propaganda.
- Billy Gilbert as Herring, a parody of Hermann Göring,[10] and Hynkel's Minister of War. He supervises demonstrations of newly developed weapons, which tend to fail and annoy Hynkel.
- Grace Hayle as Madame Napaloni, the wife of Benzino who later dances with Hynkel. In Italy, scenes involving her were all cut out of respect to Benito Mussolini's widow Rachele until 2002.
- Carter DeHaven as Spook, the Bacterian ambassador.
Other cast
- Stanley "Tiny" Sandford as a comrade soldier in 1918
- Joe Bordeaux as ghetto extra
- Hank Mann as stormtrooper stealing fruit
Also featuring
Production
According to Jürgen Trimborn's biography of Nazi propaganda filmmaker Leni Riefenstahl, both Chaplin and French filmmaker René Clair viewed Riefenstahl's Triumph of the Will together at a showing at the New York Museum of Modern Art. Filmmaker Luis Buñuel reports that Clair was horrified by the power of the film, crying out that this should never be shown or the West was lost. Chaplin, on the other hand, laughed uproariously at the film. He used it to inspire many elements of The Great Dictator, and, by repeatedly viewing this film, Chaplin could closely mimic Hitler's mannerisms.[11]
Trimborn suggests that Chaplin decided to proceed with making The Great Dictator after viewing Riefenstahl's film.[12] Hynkel's rally speech near the beginning of the film, delivered in German-sounding gibberish, is a caricature of Hitler's oratory style, which Chaplin also studied carefully in newsreels.[13]
The film was directed by Chaplin (with his half-brother
Chaplin wanted to address the escalating violence and repression of Jews by the Nazis throughout the late 1930s, the magnitude of which was conveyed to him personally by his European Jewish friends and fellow artists.
In the period when Hitler and his Nazi Party rose to prominence, Chaplin was becoming internationally popular. He was mobbed by fans on a 1931 trip to Berlin, which annoyed the Nazis. Resenting his style of comedy, they published a book titled The Jews Are Looking at You (1934), describing the comedian as "a disgusting Jewish acrobat" (although Chaplin was not Jewish). Ivor Montagu, a close friend of Chaplin's, relates that he sent the comedian a copy of the book and always believed that Chaplin decided to retaliate with making Dictator.[16]
In the 1930s, cartoonists and comedians often built on Hitler and Chaplin having similar mustaches. Chaplin also capitalized on this resemblance in order to give his Little Tramp character a "reprieve".[17]
In his memoir My Father, Charlie Chaplin, Chaplin's son Charles Chaplin Jr. described his father as being haunted by the similarities in background between him and Hitler; they were born four days apart in April 1889, and both had risen to their present heights from poverty. He wrote:
Their destinies were poles apart. One was to make millions weep, while the other was to set the whole world laughing. Dad could never think of Hitler without a shudder, half of horror, half of fascination. "Just think", he would say uneasily, "he's the madman, I'm the comic. But it could have been the other way around."[18]
Chaplin prepared the story throughout 1938 and 1939, and began filming in September 1939, six days after the beginning of
According to The Tramp and the Dictator, Chaplin arranged to send the film to Hitler, and an eyewitness confirmed he saw it.[4] Hitler's architect and friend Albert Speer denied that the leader had ever seen it.[20] Hitler's response to the film is not recorded, but another account tells that he viewed the film twice.[21]
Some of the signs in the shop windows of the ghetto in the film are written in
Music
The film score was written and composed by Meredith Willson, later known as composer and librettist of the 1957 musical comedy The Music Man:
I've seen [Chaplin] take a soundtrack and cut it all up and paste it back together and come up with some of the dangdest effects you ever heard—effects a composer would never think of. Don't kid yourself about that one. He would have been great at anything—music, law, ballet dancing, or painting—house, sign, or portrait. I got the screen credit for The Great Dictator music score, but the best parts of it were all Chaplin's ideas, like using the Lohengrin "Prelude" in the famous balloon-dance scene.[23]
According to Willson, the scene in which Chaplin shaves a customer to Brahms' Hungarian Dance No. 5 had been filmed before he arrived, using a phonograph record for timing. Willson's task was to re-record it with the full studio orchestra, fitting the music to the action. They had planned to do it painstakingly, recording eight measures or less at a time, after running through the whole scene to get the overall idea. Chaplin decided to record the run-through in case anything was usable. Willson later wrote, "by dumb luck we had managed to catch every movement, and that was the first and only 'take' made of the scene, the one used in the finished picture".[23]
James L. Neibaur has noted that among the many parallels that Chaplin noted between his own life and Hitler's was an affinity for Wagner's music.[24] Chaplin's appreciation for Wagner has been noted in studies of the director's use of film music.[25] Many commentators have noted Chaplin's use of Wagner's Lohengrin prelude when Hynkel dances with the globe-balloon.[24][26][27] Chaplin repeated the use of the Lohengrin prelude near the conclusion when the exiled Hannah listens to the Jewish barber's speech celebrating democracy and freedom.[28] The music is interrupted during the dictator's dance but it is heard to climax and completion in the barber's pro-democracy speech.
Commenting on this, Lutz Peter Koepnick writes in 2002,
How can Wagner at once help emphasize a progressivist vision of human individualism and a fascist preview of absolute domination? How can the master's music simultaneously signify a desire for lost emotional integrity and for authoritative grandeur? Chaplin's dual use of Lohengrin points towards unsettling conjunctions of Nazi culture and Hollywood entertainment. Like
Adorno, Chaplin understands Wagner as a signifier of both: the birth of fascism out of the spirit of the total work of art and the origin of mass culture out of the spirit of the most arduous aesthetic program of the 19th century. Unlike Adorno [who identifies American mass culture and fascist spectacle], Chaplin wants his audience to make crucial distinctions between competing Wagnerianisms. Both...rely on the driving force of utopian desires, on...the promise of self-transcendence and authentic collectivity, but they channel these mythic longings in fundamentally different directions. Although [Chaplin] exposes the puzzling modernity of Nazi politics, Chaplin is unwilling to write off either Wagner or industrial culture. [Chaplin suggests] Hollywood needs Wagner as never before in order to at once condemn the use of fantasy in fascism and warrant the utopian possibilities in industrial culture.[29]
Reception
Chaplin's film was released nine months after Hollywood's first parody of Hitler, the short subject
The film was well received in the United States at the time of its release, and was popular with the American public. For example, Bosley Crowther of The New York Times called the film "a truly superb accomplishment by a truly great artist" and "perhaps the most significant film ever produced."[31] The film was also popular in the United Kingdom, drawing 9 million to the cinemas,[32] despite Chaplin's fears that wartime audiences would dislike a comedy about a dictator. The film earned theater rentals of $3.5 million from the U.S. and Canada[33] and $5 million in total worldwide rentals.[3]
The film was banned in several Latin American countries, where there were active movements of Nazi sympathizers.[34]
During the film's production, the British government had announced that it would prohibit its exhibition in the United Kingdom, in keeping with its appeasement policy concerning Nazi Germany,[35] but by the time the film was released, the UK was at war with Germany and the film was welcomed in part for its obvious propaganda value. In 1941, London's Prince of Wales Theatre screened its UK premiere. The film had been banned in many parts of Europe, and the theatre's owner, Alfred Esdaile, was apparently fined for showing it.[36]
When the film was released in France in 1945, it became the most popular film of the year, with admissions of 8,280,553.
Chaplin biographer Jeffrey Vance concludes his lengthy examination of the film, in his book Chaplin: Genius of the Cinema, by asserting the film's importance among the great film satires. Vance writes, "Chaplin's The Great Dictator survives as a masterful integration of comedy, politics and satire. It stands as Chaplin's most self-consciously political work and the cinema's first important satire."[41]
Vance further reports that a refugee from Germany who had worked in the film division of the Nazi Ministry of Culture before deciding to flee told Chaplin that Hitler had watched the movie twice, entirely alone both times. Chaplin replied that he would "... give anything to know what he thought of it."[42]
Chaplin's Tramp character and the Jewish barber
There is no critical consensus on the relationship between Chaplin's earlier Tramp character and the film's Jewish barber, but the trend is to view the barber as a variation on the theme. French film director François Truffaut later noted that early in the production, Chaplin said he would not play The Tramp in a sound film.[43] Turner Classic Movies says that years later, Chaplin acknowledged a connection between The Tramp and the barber. Specifically, "There is some debate as to whether the unnamed Jewish barber is intended as the Tramp's final incarnation. Although in his autobiography he refers to the barber as the Little Tramp, Chaplin said in 1937 that he would not play the Little Tramp in his sound pictures."[44] In My Autobiography, Chaplin would write, "Of course! As Hitler I could harangue the crowds all I wished. And as the tramp, I could remain more or less silent." The New York Times, in its original review (16 October 1940), specifically sees him as the tramp. However, in the majority of his so-called tramp films, he was not literally playing a tramp. In his review of the film years after its release, Roger Ebert says, "Chaplin was technically not playing the Tramp." He also writes, "He [Chaplin] put the Little Tramp and $1.5 million of his own money on the line to ridicule Hitler."[45]
Critics who view the barber as different include Stephen Weissman, whose book Chaplin: A Life speaks of Chaplin "abandoning traditional pantomime technique and his little tramp character".[46] DVD reviewer Mark Bourne asserts Chaplin's stated position: "Granted, the barber bears more than a passing resemblance to the Tramp, even affecting the familiar bowler hat and cane. But Chaplin was clear that the barber is not the Tramp and The Great Dictator is not a Tramp movie."[47] The Scarecrow Movie Guide also views the barber as different.[48]
Annette Insdorf, in her book Indelible Shadows: Film and the Holocaust (2003), writes that "There was something curiously appropriate about the little tramp impersonating the dictator, for by 1939 Hitler and Chaplin were perhaps the two most famous men in the world. The tyrant and the tramp reverse roles in The Great Dictator, permitting the eternal outsider to address the masses".[49] In The 50 Greatest Jewish Movies (1998), Kathryn Bernheimer writes, "What he chose to say in The Great Dictator, however, was just what one might expect from the Little Tramp. Film scholars have often noted that the Little Tramp resembles a Jewish stock figure, the ostracized outcast, an outsider."[50]
Several reviewers of the late 20th century describe the Little Tramp as developing into the Jewish barber. In Boom and Bust: American Cinema in the 1940s, Thomas Schatz writes of "Chaplin's Little Tramp transposed into a meek Jewish barber",[51] while, in Hollywood in Crisis: Cinema and American Society, 1929–1939, Colin Shindler writes, "The universal Little Tramp is transmuted into a specifically Jewish barber whose country is about to be absorbed into the totalitarian empire of Adenoid Hynkel."[52] Finally, in A Distant Technology: Science Fiction Film and the Machine Age, J. P. Telotte writes that "The little tramp figure is here reincarnated as the Jewish barber".[53]
A two-page discussion of the relationship between the barber and The Tramp appears in Eric L. Flom's book Chaplin in the Sound Era: An Analysis of the Seven Talkies. He concludes:
Perhaps the distinction between the two characters would be more clear if Chaplin hadn't relied on some element of confusion to attract audiences to the picture. With The Great Dictator's twist of mistaken identity, the similarity between the barber and the Tramp allowed Chaplin break [sic] with his old persona in the sense of characterization, but to capitalize on him in a visual sense. The similar nature of the Tramp and barber characterizations may have been an effort by Chaplin to maintain his popularity with filmgoers, many of whom by 1940 had never seen a silent picture during the silent era. Chaplin may have created a new character from the old, but he nonetheless counted on the Charlie person to bring audiences into the theaters for his first foray into sound, and his boldest political statement to date.[54]
Awards
The film was
- Outstanding Production – United Artists (Charlie Chaplin, Producer)
- Best Actor – Charlie Chaplin
- Best Writing (Original Screenplay) – Charlie Chaplin
- Best Supporting Actor – Jack Oakie
- Best Music (Original Score) – Meredith Willson
Chaplin also won best actor awards at National Board of Review awards and New York Film Critics Circle Awards.[55]
In 1997, The Great Dictator was selected by the Library of Congress for preservation in the United States National Film Registry as being "culturally, historically or aesthetically significant".[5]
In 2000, the American Film Institute ranked the film No. 37 in its "100 Years... 100 Laughs" list.[56]
The film holds a 92% "Fresh" rating on the review aggregator website
Plagiarism lawsuit
Chaplin's half-brother
Home media
A digitally restored version of the film was released on
Legacy
The Great Dictator influenced numerous directors, such as Stanley Kubrick, Mel Brooks, Wes Anderson, and Chuck Jones and inspired such films as The Dictator (2012), The Interview (2014), and Jojo Rabbit (2019).
Sean McArdle and Jon Judy's
The final speech of the film has been sampled in more than 40 songs,[64] artists such as Coldplay and U2 have played the speech during live shows,[65] and coffee company Lavazza used it in a television advertisement.[66]
During
See also
- Hitler's Reign of Terror (screened 30 April 1934), possibly the first American anti-Nazi film
- Are We Civilized? (released 6 June 1934), about an unspecified dictatorship
- To Be or Not to Be (February 15, 1942), a dark comedy about living in Nazi-occupied Warsaw (also remade in 1983 by Mel Brooks)
References
- ^ "The Great Dictator (U)". British Board of Film Classification. December 9, 1940. Retrieved November 3, 2012.
- ^ "UA Meeting". Variety. November 20, 1940. p. 20.
- ^ ISBN 978-0-8262-1718-9.
Charlie Chaplin's 1940 film The Great Dictator, satirizing Hitler and Nazism, grossed $5 million worldwide and became a classic.
- ^ a b c d Branagh, Kenneth (narrator) (2002). Chaplin and Hitler: The Tramp and the Dictator (television). BBC. Retrieved December 28, 2020.
- ^ a b "Films Selected to The National Film Registry, 1989–2010". Library of Congress. Retrieved February 3, 2012.
- ^ "New to the National Film Registry (December 1997) – Library of Congress Information Bulletin". www.loc.gov. Retrieved June 23, 2020.
- ^ Chaplin, Charlie (1964). My Autobiography. New York, Simon and Schuster. p. 392.
Had I known of the actual horrors of the German concentration camps, I could not have made The Great Dictator, I could not have made fun of the homicidal insanity of the Nazis
- ^ The spelling of the country's name is derived from the numerous local newspapers flashed onscreen between 14 and 15 minutes into the film that indicate the end of World War I, such as The Tomainian past, thus establishing the proper spelling.
- ^ "The film that dared to laugh at Hitler". BBC Culture. Retrieved December 31, 2021.
- ^ a b c d Pfieffer, Lee. "The Great Dictator". Encyclopædia Britannica. Retrieved January 26, 2013.
- ^ "The Great Dictator". The Criterion Collection.
- ISBN 978-0-374-18493-3.
- S2CID 159482040.
[Chaplin sat] for hours watching newsreels of the German dictator, exclaiming: Oh, you bastard, you!
- ^ Ebiri, Bilge (December 19, 2014). "The Interview Has Renewed Interest in Chaplin's The Great Dictator, Which Is a Great Thing". Vulture. Retrieved December 28, 2020.
- ^ "Hitler in the Movies". Searching for Hitler. schikelgruber.net. Retrieved May 4, 2013.
- ^ Stratton, David (February 21, 2002). "The Tramp and the Dictator". Variety. Retrieved December 28, 2020.
- ISBN 978-0-8108-7780-1.
- ^ Singer, Jessica (September 14, 2007). "The Great Dictator". Brattle Theatre Film Notes. Retrieved December 28, 2020.
- ^ Internationally co-produced by four production companies, including BBC, Turner Classic Movies, and Germany's Spiegel TV
- ^ "Charlie Chaplins Hitler-Parodie: Führer befiehl, wir lachen!" [Charlie Chaplin's Hitler parody: Fiihrer commands, we laugh!] (in German). May 19, 2010. Retrieved December 28, 2020.
- ISBN 9780688035747.
- ISBN 978-1-56024-178-2..
Between world wars, Esperanto fared worse and, sadly, became embroiled in political power moves. Adolf Hitler wrote in Mein Kampf that the spread of Esperanto throughout Europe was a Jewish plot to break down national differences so that Jews could assume positions of authority.... After the Nazis' successful Blitzkrieg of Poland, the Warsaw Gestapo received orders to 'take care' of the Zamenhof family.... Zamenhof's son was shot... his two daughters were put in Treblinka death camp
- ^ a b Meredith Willson (1948). And There I Stood With My Piccolo. Garden City, New York: Doubleday and Company, Inc.
- ^ a b James L. Neibaur (2011). "The Great Dictator". Cineaste. Vol. XXXVI, no. 4. Archived from the original on January 26, 2012. Retrieved February 21, 2012.
- ^ Edwards, Bill. "Charles Spencer Chaplin". ragpiano.com. Retrieved May 4, 2013.
- ^ "Charlie Chaplin in The Dictator: The Globe Scene using the Prelude to Lohengrin, Act 1" Archived October 11, 2011, at the Wayback Machine. WagnerOpera.net. Retrieved May 4, 2013.
- ^ "Ten Films that Used Wagner's Music", Los Angeles Times. June 17, 2010.
- ^ Peter Conrad. Modern Times, Modern Places How Life and Art Were Transformed in a Century of Revolution, Innovation and Radical Change. Thames & Hudson. 1999, p. 427
- ISBN 978-0-520-23311-9.
- ]
- ^ Crowther, Bosley (October 16, 1940). "Still Supreme in 'The Great Dictator,' Charlie Chaplin Reveals Again the Greatness in Himself". The New York Times. Retrieved October 18, 2020.
- ^ Ryan Gilbey (2005). The Ultimate Film: The UK's 100 most popular films. London: BFI. p. 240.
- ^ Sackett, Susan (December 26, 1996). "The Hollywood reporter book of box office hits". New York : Billboard Books – via Internet Archive.
- ISBN 978-0-520-02048-1.
- ^ ISBN 0520209494.
- ^ Prince of Wales Theatre (2007). Theatre Programme, Mama Mia!. London.
{{cite book}}
: CS1 maint: location missing publisher (link) - ^ French box office in 1945 at Box office story
- ^ "Cahiers du cinéma's 100 Greatest Films". November 23, 2008.
- ^ O'Neill, Phelim (October 18, 2010). "The Great Dictator: No 22 best comedy film of all time". The Guardian. Retrieved December 25, 2018.
- ^ "The 100 greatest comedies of all time". BBC Culture. August 22, 2017. Retrieved September 8, 2017.
- ISBN 0-8109-4532-0.
- ^ Vance, Jeffrey (2003). "The Great Dictator" (PDF). Library of Congress. Retrieved April 17, 2024.
- ISBN 978-0-306-80599-8.
- ^ "The Great Dictator:The Essentials". Turner Classic Movies. Retrieved December 31, 2010.
- ^ Ebert, Roger (September 27, 2007). "The Great Dictator (1940) [review]". Chicago Sun-Times. Retrieved December 31, 2010.
- ISBN 978-1-55970-892-0.
- ^ Mark Bourne. "The Great Dictator:The Chaplin Collection". DVD Journal. Retrieved December 31, 2010.
- ISBN 978-1-57061-415-6.
- ISBN 978-0-521-01630-8.
- ISBN 978-1-55972-457-9.
- ISBN 978-0-520-22130-7.
- ISBN 978-0-415-10313-8.
- ISBN 978-0-8195-6346-0.
- ISBN 978-0-7864-0325-7.
- ^ "Best Actor". nyfcc.
- ^ America's Funniest Movies. AFI's 100 Years...100 Laughs. Retrieved February 3, 2012.
- ^ The Great Dictator at Rotten Tomatoes
- ^ "The Great Dictator". Roger Ebert. September 27, 2007.
- ^ Garza, Janiss. "King, Queen, Joker: Synopsis". AllMovie. Retrieved May 4, 2013.
- ISSN 0362-4331. Retrieved December 20, 2023.
- ^ Chaplin, My Autobiography, 1964.
- ^ "The Great Dictator". The Criterion Collection. Retrieved May 4, 2013.
- ^ Johnston, Rich (December 22, 2019). "The Fuhrer And The Tramp #1 and Hank Steiner: Monster Detective #1 Launch in Source Point March 2020 Solicits". Bleeding Cool.
- ^ "Final Speech". Whosampled. Retrieved March 28, 2024.
- ^ "U2 Concert Intro". charliechaplin.com. Retrieved December 6, 2021.
- ^ Greenberg, Charlie (August 19, 2020). "Lavazza channels the 80-year-old words of Charlie Chaplin". The Savvy Screener. Retrieved September 24, 2020.
Sources
- Chaplin and American Culture: The Evolution of a Star Image. Charles J. Maland. Princeton, 1989.
- National Film Theatre/British Film Institutenotes on The Great Dictator.
- The Tramp and the Dictator, directed by Kevin Brownlow, Michael Kloft 2002, 88 mn.
External links
- The Great Dictator essay by Jeffrey Vance on the National Film Registry website
- The Great Dictator essay by Daniel Eagan in America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry, A&C Black, 2010 ISBN 0826429777, pages 320-321
- The Great Dictator at IMDb
- The Great Dictator at AllMovie
- The Great Dictator at the TCM Movie Database
- The Great Dictator at the American Film Institute Catalog
- The Great Dictator at Rotten Tomatoes
- The Great Dictator: The Joker and the Madman an essay by Michael Wood at the Criterion Collection
- "The Great Dictator (1940) The Screen in Review", Bosley Crowther Wallace, The New York Times, October 16, 1940