Credits and synopsis. Home playbill. "My dictator has some resemblance to Hitler. Use it a coincidence that mustache like mine, but I used it first. I do not shadowing that guy, I do not come with a lock on the eye. I tried to make a summary of all dictators. No actor has not dreamed of playing Napoleon. I play both Napoleon and Hitler, the mad Tsar Paul, all in one. "
Charles Chaplin at the premiere of The Great Dictator
New York, October 15, 1940.
S owever, despite Chaplin's own words after the New York premiere of The Great Dictator (The Great Dictator, 1940) in a makeshift and evasive statements to the Press the October 15, 1940, it is clear that the character played by him in The Great Dictator only refers to a single dictator, Adolph Hitler. Satire, ridicule, public ridicule of the dictator, that Chaplin considered a great comedian, ridicule from all sides, as his creation of the little man tramp, "The Tramp", better known as Charlot in Spain , who played for over 25 years and whose beginnings unmark a blatant and opportunistic vein. Chaplin, more than anyone guessed the psychology of the dictator, as though they were antagonistic as human beings however, had many similarities, beyond his small mustache.
Sir Charles Spencer Chaplin was born on April 16, 1889, in London, Great Britain. Adolf Hitler was born just four days later, on April 20, 1889 in Braunau, Austria. Two of future major figures of the twentieth century, came into the world with only four days apart, but Chaplin was before, suffered hardships in childhood before, rose to fame before, was revered by crowds before, even in Berlin, a March 17, 1931, no one had been received with much enthusiasm never before in the Germanic capital, and above all, his mustache was much earlier.
American and German Cartel. In most studies in the comparison of both figures, Chaplin is one that mimics or imitates Hitler, obviously due to the overlap from the premiere of The Great Dictator in 1940, however, " Hitler would not be imitating Chaplin who started years ago?, at least, so he played as comic exaggeration, as sensationalist as crowds exacerbated hog character on the big screen, and show the world through the talent Germanic filmmaker Leni Riefenstahl propaganda documentaries the service of the Nazi party, as The Triumph of the Will (1934) and Olympia (1938) , among others.
As I said, Chaplin became famous long before Hitler had even gone to war.
In 1914, Chaplin presented for the first time the Little Tramp character in a matter of months would be popular with crowds around the world, was spontaneous, with costumes borrowed from fellow comic company and Fatty Arbuckle, who would borrow the famous trousers was Kid Auto Races at Venice , and the primitive character distaría much of which starred his feature films during the 20's, he was a cocky character, acquisitive and opportunistic features that have never stop completely, but nevertheless, would be relaxed in favor of much more emotional signs, closer.
That same year, 1914, Hitler was photographed in Munich, among other cheering crowd that attended the proclamation of the First World War. That year Hitler was a frustrated young artist and militarily, which had been rejected both by his qualities as a painter and in his first attempt from military service for his slight build for the use of arms. After the death of his mother in 1908 until the outbreak of the First World War, Hitler experienced misery and destitution.
because at that point, 1914, one of many between the two figures, were for the first time the fictional and real characters, Chaplin and Hitler. It is recalled that Chaplin himself would have experienced the same feelings of misery in the London suburbs who so faithfully dramatized in his plays, all of this, together with the mental illness of his mother and the need to emigrate to the United States to work in Keystone company with his brother Sidney. Like Hitler, the years between 1910 and 1914, were really hard. What is the seed, then, human nature as different from each other? It is one of the most worthy study that I know. Chaplin's childhood was even harder than that of the future dictator. There is no key, the germ is the self and the events only fire their actions. Beings whose activism in the case of Hitler and Chaplin, was diametrically opposite, antagonistic.
So who was the first? Who imitated first to whom? Obviously, Hitler and Charlie Chaplin. But as I said, maybe just a tangent. Hitler naturally became that being opportunistic, and acquisitive character like Charlie that was featured at auto races Kid at Venice in 1914. Hitler, like a good fan of progress and the arts, recognized in the art of film one of the greatest achievements of the century home. It is known that it was a great admirer of American cinema, and even care and decorated the outside of the theater reserved for the military troops during their stay. It is very probable, therefore, who knew very well the film artist most American media industry. Eager to prominence, and by the budding of his own character to play, it is clear that Hitler would no doubt influenced by all who come to the masses. In its first foray into political advocacy by cinematography, Hitler silent speaker in the middle stage, took a ridiculous figure exaggerated, arrogant and almost expressionistic gestures, like something out of Chaplin a farce. Had to get the montage of attractions of Eisenstein, the talkies and Leni Riefenstahl. So yes, the world began to take seriously the propaganda that came from Germany, the Nazi party, Hitler, and his power of speech and collective inebriation.
Back then, in 1931, Chaplin traveled to Berlin and was received by the crowd like no one remembered ever before in Germany. His character, the Little Tramp, was one of the most beloved in the world, a ridiculous character, with a small mustache, grinning, proud, and even effeminate. Two years later, in 1933, reality is stranger than fiction, and a character modeled on forms to be returned hailed by cheering masses.
Seven years later, the fictional character dared to stand up to real dictator. In The Great Dictator, claimed his right cinema propaganda in the service of humanity in war on terror and barbarism, with the most powerful weapon, comedy and satire, satire with a capital in the hands of only being able to stop forever the icon of terror. Antagonists of birth, Chaplin against Hitler, the humanist discourse against terror speech.
The Great Dictator, which started shooting just one day after the Declaration of the Second World War on September 5, 1939, production became the most controversial of the moment. It is difficult to understand how the cowardly American industry, characterized by allusions and avoid taking sides, gave the nod to Chaplin's daring production. Just a couple of years ago, for example, had produced Lock (Blockade, 1938), with Henry Fonda, directed by William Dieterle and set in the English Civil War and the present, however, without a political reference to Franco or the National Front or Republican. Apparently, it is said that Chaplin had the approval of President Roosevelt, who after the harassment of the most conservative, since at a time and continue until the expulsion Chaplin's final in the period of McCarthyism and the witch hunt, "he assured the premiere of the film Chaplin. However, it should be remembered that American industry was governed primarily by the Jewish sector. Would not be surprising that given the proposal Chaplin, encourage American industry itself-fairly coward to his own guinea pig, an enthusiastic and activist Charlie Chaplin.
International Posters. Chaplin always lived in their world, away from other productions, surrounded by his most ardent artistic collaborators and his pace. In 1936, still performing his last silent film, Modern Times (Modern Times) , and showed as a true activist transgressor of recent social change, industrialization and the assembly line. Inveighed against Henry Ford, the first of its satirical targets in its new phase. Very proud, Chaplin, who despised anchored branded him artistically showing its most recent updated socially in their films. So much so that after the machining progress satire, political satire reached the dizzying events of the late 30's. Chaplin knew that caused revulsion among American conservatives and, mostly, between fascism coming to America from Europe, so much so that no one doubted his Jewish origin. Something that Chaplin never denied, although it was highly unlikely that it was. However, among the ethnic origins of Chaplin if he was the Roma , by her mother. The great empathy that Chaplin was against anti-Semitic movements, was thus reinforced by maternal ethnic heritage. After knowing the horrors that were happening in Europe, Chaplin did not hesitate to capture on screen, something I'm sure she pondered for quite some time, satirizing the German dictator. The dictator was him, same, Chaplin had to understand that no other comedian might be able to make front and by nature should be able to do so. Just after the premiere of the film, especially after the Germano-Soviet pact, Chaplin admitted having been afraid. However, the film was released and distributed normally, until the clear prohibitions in Spain, for example, opened more or less than 36 years later, in 1976.
The Great Dictator contains several of the most memorable scenes from the films of Charles Chaplin. In its first foray into talkies, not sound-first, regardless of the few planes in Modern Times , formally belonging to the window period, "Chaplin amply demonstrates his versatility with the talks. Throughout the decade of 30, Chaplin had been harshly criticized for his opposition to talkies, with attempts to intimidation and accusations of lack of creative limitations to the interpretation spoken, something that would prove far Chaplin, silencing many voices.
The Great Dictator placing the Great War begins in 1918 with the presentation of the famous Tramp character, this time as a soldier in front of Tomania, and later the quiet, amnesiac Jewish barber. Chaplin, who had parodied the First World War with the exquisite Shoulder Arms (Shoulder Arms 1918), presenta en esta primera secuencia, todavía resentida de su periodo silente, una notable inexperiencia en el ritmo sonoro; sin embargo, tras ver literalmente “defecar” al Gran Bertha –el arma del ejército de tierra más potente de Tomania- en su propio campo, asistimos a un pulido sentido de la sugestión cómica, resultado de más de 25 años de carrera cinematográfica. Pronto escuchamos tímidamente la voz del pequeño personaje, familiarizándonos con un nuevo modelo de cine por parte del genial Chaplin.
Las secuencias en el Ghetto judío son alternadas por las secuencias del dictador de la ficticia Tomania, las más geniales de toda la película; Chaplin's interpretation Hynkel is superb, every mouth silent for so long raised against the ability to reinvent British filmmaker. But Chaplin always going farther, as in the sequence of the dictator's speech taken, Hynkel, imitating the German accent from within the Anglo-Saxon, in a scene with a few mounting inserts, just memorable. Chaplin seemed to feel like a fish in water in the character of the dictator who controlled to perfection, and in another memorable scene in the wonderful dance with the globe, or the hilarious scenes with the character of Napaloni, dictator of Bacteria, brilliantly interpreted by Jack Oackie, another acidic satire Benito Mussolini and the Fascist Party.
However, perhaps the most memorable scene is the final speech. One of the most emotional speeches of the history of cinema. Not the Jewish barber and the dictator Hynkel, this time Chaplin himself feels the need to act in particular ubiquitous film, and he recites the speech in the foreground, staring, and deep emotion. With the pointed end of humanist discourse The Great Dictator, Chaplin shook the hearts of millions of people and managed to encourage hope in a world beset by terror, as World War II had just begun.
There is no similar occasion in the entire history of Film comparable to that final scene, one of a unique human being, an artist never surpassed.
Today, the vision of context can be considered naive in its bottom, but be aware that at the time of its implementation there was no evidence of the enormity of Nazi barbarism. In fact, Chaplin himself said that having heard the horror and genocide was happening, would not have made the film.
The Great Dictator, was greatly influenced by the realistic-poetic direction I was getting the European cinema, French cinema in particular, in the work of filmmakers as Jean Renoir, with a key work in the late 30, The Grand Illusion (La Grande Illusion, 1937) of profound peace and dyes key humanist poetry, and other filmmakers such as Jean Vigo, Marcel Carné and René Clair, this Finally even Chaplin himself had sued for alleged plagiarism of his work Viva Liberty (Á Nous la Liberté, 1931) in carrying out the script Modern Times, as well as the evidence of the influence of French power is more remarkable.
Moreover, Chaplin's influence and especially The Great Dictator other postwar European trends is more proportions if possible. I refer to Italian Neorealism, a way of understanding cinema undoubtedly influenced by the work of Chaplin, in the work of filmmakers such as Rossellini and De Sica. Even the music of Chaplin in The Great Dictator remembers the first neorealist Italian soundtracks of the 40.
The influence of Chaplin's film continues to be of vital importance in contemporary film is a more humanistic and historical legacy of incalculable value.
Today, 70 years and three months after the premiere of The Great Dictator in New York, La Cinematheque de Sant Joan recalls in its first thematic cycle in January 2011, dedicated to Satire on War , that character played by Charles Chaplin in The Great Dictator , Hynkel, dictator of a Tomania anywhere, who continues his parody in time, increasingly gains. Current ridiculous characters in the political arena, in all parts of the world remind us of that parody is necessary, the political satire is needed, therefore, reminds us that certain skills are repeated without remission. Remember the work of human beings as Charles Chaplin today helps us remember that it can cope with horror, one of the most characteristic human gestures and necessary, sense of humor and comedy.
Javier Ballesteros.
final speech The Great Dictator.
Sorry.
But I do not want to be emperor. That's not my job, but to help everyone if possible. Black or white. Jews or Gentiles. We must help each other, human beings are like that. We want to make others happy, not make us miserable. We do not want to hate or help anyone. In this world there is room for everyone and good land is rich and can provide for all beings. The road of life can be free and beautiful, but we lost. Greed has poisoned weapons, has erected barriers of hatred, has pushed us to the misery and bloodshed.
We progressed very quickly, but we have shut ourselves. The machinery, which creates abundance has left us in need. Our knowledge has made us cynical. Our cleverness hard and dry. We too, are very little.
More than machinery we need more humanity. More than cleverness we need kindness and gentleness.
Without these qualities, life will be violent and all will be lost. The airplane and the radio have brought us more nearby. The true nature of these inventions require human goodness requires the universal brotherhood that unites us all of us.
now my voice is reaching millions throughout the world, millions of despairing men, women and children, victims of a system that makes men torture and imprison innocent people. To those who can hear me, I say: no deseperéis. The misery that is more than the passing of greed and bitterness homres who fear the way of human progress.
Hatred pass and dictators die, and the power that was stripped of the people have returned to the village, and thus, while Man, liberty will never perish.
Soldiers.
why not give yourselves to actually despise you, enslave you, regulate your lives and tell them what you have to do, what to say and feel.
I sweep the brain, I baited, they treat you like cattle, as cannon fodder. Do not give yourselves to these unnatural men, machine, with machine minds and hearts.
You are not cattle, you are not machines, are men. You carry the love of humanity in your hearts, not hatred. Only the unloved hate those who love us and inhuman.
Soldiers.
not fight for slavery but for freedom. In chapter 17 of Luke reads: "The Kingdom of God is not a man or a group of men, but in all men ..." You men have the power. The power to create machines, the power to create happiness, the power to make this life free and beautiful and make it a beautiful baby adventure.
In the name of democracy, let us use that power to act all together. Fight for a new world, worthy and noble men that guarantees a job, a future youth and old age security. But the promise of these things, the beasts came to power. But they lied, never fulfilled their promises and never fulfilled. Dictators free themselves but they enslave the people. Now let us fight to fulfill their promises. All fight to free the world. To break down national barriers, to do away with greed, hatred and intolerance.
Fight for the world of reason.
A world where science, progress, lead us all to happiness.
Soldiers.
In the name of democracy, we must pull together.
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Other Items related:
-El Chico of Charles Chaplin.
antiwar "film series.
-La Satire at war.
-be or not Ernst Lubitsch.
-Phone Red, flew to Moscow to Stanley Kubrick.
-MASH by Robert Altman.
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