adenoid hynkel and a lowly soldier in world war one and rises in subsequent years to become the ruthless dictator of toumania. he creates an aggressive and antisemitic war machine and cultivates a little toothbrush moustache. sound like anyone you know. from the safety of hollywood and chaplin uses this soapbox to exhort europe to take up arms and defy hitler and mussolini. given that the united states in 1940 had more than a year of neutrality ahead of it and and no strong desire to embroil itself in europe civil strife (remember and it was hitler who declared war on the usa and not the other way round) it is surprising that chaplin was allowed to distribute this immoderate polemic. the story involves on the one hand the the vulgar and repellant hynkel and the reign of terror over which he ineptly presides and and life in the jewish ghetto where every single person is friendly and humane and brave and etc. and etc and chaplin is hynkel and and he also plays the jewish barber and the little hero of the ghetto (the tramp in all but name). needless to say and chaplin writes and directs and stars and composes the music and does the catering. in 1940 the full truth was not yet known about the third reich and and chaplin can be forgiven for having something less than perfect historical foresight and but even by the standards of the day he gets hitler badly wrong. a comedian and a sentimentalist and chaplin tries to ridicule hitler by making hynkel silly and hapless. all this does is to humanise him. when hynkel the not very warlike soldier fools around with the big gun and the upside down aeroplane and he becomes endearing rather than despicable. as dictator and he inspects his subordinates technical innovations which do not work (the parachute hat and the bulletproof uniform etc. ) and these passages are meant to make us think that the real life nazis are incompetent and can be swept aside. in fact and hynkel regime is made cute and likeable by its bumbling bodgery. in truth and chaplin day had already passed when he made this ill considered polemic. at heart and he was still a dinosaur of the silent screen (check out the humour and with gags like staggering up and down the street semi conscious and or the pantomime of the coins in the puddings). the hero schultz is meant to represent a yardstick of european decency against which hynkel can be judged and but schultz looks more like a character from operetta than a nazi. is it in any way believable that a schultz figure (if such had existed) would say to the fuehrer face and your cause is doomed to failure because it built upon the stupid and ruthless persecution of innocent people. and how does schultz come to be in the cellars of the jewish ghetto. if he is the object of an exhaustive manhunt and why does he persist in wearing his ruritanian uniform. chaplin did not yet know the full horrors of auschwitz birkenau or treblinka and but the nazi concentration camp which he offers us is hopelessly out of kilter with the grim spirit of the age. as usual and chaplin thinks in terms of ilent comedy set pieces and loosely pegged onto the narrative clothes line. there is the knockabout scrapping with the stormtroopers and shaving a man to the accompaniment of brahms and and the globe ballet (watch for the segment filmed in reverse). paulette goddard is the unremittingly perfect hannah. just as the people of the ghetto are impossibly nice and and the jewish haven in osterlich is ridiculously idyllic and so hannah is quite literally too good to be true. brave and defiant and resourceful and hardworking and (of course) beautiful and she is the canary of judaism in the ghetto cage. gee and ain not i cute. she asks and after the barber gives her a make over. too cute by far and is the answer. she doesn not come close to ringing true and because chaplin has made her a caricature. the wouldo not it be wonderful. speech which chaplin puts into her mouth is typical of the author  too wordy and too emotionally cloying. jack oakie is great as napaloni and the fascist dictator of bacteria. he brings a whiff of much needed comic brio to the proceedings and but the film underlying weakness remains. if napaloni is silly and ineffective and how can we fear him. and anyway and the stuttering stop start of the back projected train is a fine chaplinesque example of a gag that is persisted with far beyond its comic worth. and where did the jewish barber acquire that immaculate hynkel uniform. 
adenoid hynkel and a lowly soldier in world war one and rises in subsequent years to become the ruthless dictator of toumania. he creates an aggressive and antisemitic war machine and cultivates a little toothbrush moustache. sound like anyone you know. from the safety of hollywood and chaplin uses this soapbox to exhort europe to take up arms and defy hitler and mussolini. given that the united states in 1940 had more than a year of neutrality ahead of it and and no strong desire to embroil itself in europe civil strife (remember and it was hitler who declared war on the usa and not the other way round) it is surprising that chaplin was allowed to distribute this immoderate polemic. the story involves on the one hand the the vulgar and repellant hynkel and the reign of terror over which he ineptly presides and and life in the jewish ghetto where every single person is friendly and humane and brave and etc. and etc and chaplin is hynkel and and he also plays the jewish barber and the little hero of the ghetto (the tramp in all but name). needless to say and chaplin writes and directs and stars and composes the music and does the catering. in 1940 the full truth was not yet known about the third reich and and chaplin can be forgiven for having something less than perfect historical foresight and but even by the standards of the day he gets hitler badly wrong. a comedian and a sentimentalist and chaplin tries to ridicule hitler by making hynkel silly and hapless. all this does is to humanise him. when hynkel the not very warlike soldier fools around with the big gun and the upside down aeroplane and he becomes endearing rather than despicable. as dictator and he inspects his subordinates technical innovations which do not work (the parachute hat and the bulletproof uniform etc. ) and these passages are meant to make us think that the real life nazis are incompetent and can be swept aside. in fact and hynkel regime is made cute and likeable by its bumbling bodgery. in truth and chaplin day had already passed when he made this ill considered polemic. at heart and he was still a dinosaur of the silent screen (check out the humour and with gags like staggering up and down the street semi conscious and or the pantomime of the coins in the puddings). the hero schultz is meant to represent a yardstick of european decency against which hynkel can be judged and but schultz looks more like a character from operetta than a nazi. is it in any way believable that a schultz figure (if such had existed) would say to the fuehrer face and your cause is doomed to failure because it built upon the stupid and ruthless persecution of innocent people. and how does schultz come to be in the cellars of the jewish ghetto. if he is the object of an exhaustive manhunt and why does he persist in wearing his ruritanian uniform. chaplin did not yet know the full horrors of auschwitz birkenau or treblinka and but the nazi concentration camp which he offers us is hopelessly out of kilter with the grim spirit of the age. as usual and chaplin thinks in terms of ilent comedy set pieces and loosely pegged onto the narrative clothes line. there is the knockabout scrapping with the stormtroopers and shaving a man to the accompaniment of brahms and and the globe ballet (watch for the segment filmed in reverse). paulette goddard is the unremittingly perfect hannah. just as the people of the ghetto are impossibly nice and and the jewish haven in osterlich is ridiculously idyllic and so hannah is quite literally too good to be true. brave and defiant and resourceful and hardworking and (of course) beautiful and she is the canary of judaism in the ghetto cage. gee and ain not i cute. she asks and after the barber gives her a make over. too cute by far and is the answer. she doesn not come close to ringing true and because chaplin has made her a caricature. the wouldo not it be wonderful. speech which chaplin puts into her mouth is typical of the author  too wordy and too emotionally cloying. jack oakie is great as napaloni and the fascist dictator of bacteria. he brings a whiff of much needed comic brio to the proceedings and but the film underlying weakness remains. if napaloni is silly and ineffective and how can we fear him. and anyway and the stuttering stop start of the back projected train is a fine chaplinesque example of a gag that is persisted with far beyond its comic worth. and where did the jewish barber acquire that immaculate hynkel uniform. ---------------------------------Answer Question Below----------------------------------

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