Hynkel’s anti-Semitic rants (consisting of cod-German punctuated by shouts of “Juden”) are terrifying, but there is no conviction behind them, just a desperate need to distract the Tomainians from his economic failures. As his urbane sidekick and Goebbels substitute, Garbitsch (Henry Daniell), says: “Violence against the Jews might take the public’s mind off its stomach.”
The film has been accused of trivialising Nazi atrocities. Chaplin himself said, in his autobiography, “Had I known 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.” But he isn’t just making fun of Hitler – as Mel Brooks did in The Producers in 1967 – he is making an astute point about the fragile egos of male world leaders.
Think of today’s dictators and would-be dictators, in any country, and you can spot all the juvenile qualities that Chaplin identified: the fetish for photo opportunities, the lavish lifestyles, the policy flip-flops and the crackpot schemes, the self-aggrandising parades and the chests full of medals: Billy Gilbert’s Herring, ie. Göring, has so many medals pinned to his uniform that Hynkel has to turn him sideways to find room for the latest addition. Hitler was at the peak of his power when The Great Dictator was being made, but Chaplin had already recognised that, as with every subsequent dictator, his villainy was bound up with his immaturity.
According to biographer Jürgen Trimborn, much of the film was inspired by a screening of Leni Riefenstahl’s pro-Hitler documentary, Triumph of the Will, at the New York Museum of Modern Art. While other viewers were appalled, Chaplin roared with laughter at the ridiculous spectacle. This attitude sustained him when he was urged to abandon The Great Dictator. “I was determined to go ahead,” he wrote in his autobiography, “for Hitler must be laughed at.”
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