BEHIND "THE GREAT DICTATOR"
Notes for 28 January, 1988
Gerald R. Ford Museum, Grand Rapids
Thank you. I have been introduced as a filmmaker and I would like to clarify this a bit--I am a pharmacist and instructor in Battle Creek who makes films whenever he can. My last completed work was an animated piece that seemed to follow disasters in the third world -- it turned up in Lisbon just before the American embassy was bombed, it played in Tunisia about the time Arrafat showed up, and it may have caused a typhoon in Australia, but I'm not sure. So you guys in the back with the cheap suits and sunglasses, yes, I'm the one, and don't worry, I'm not showing that film tonight.
As far as my lecturing goes, I had a tense few moments this morning when getting ready for this presentation: I printed the wrong file from my word processor -- you all came very close to getting a test on the Function of Endorphins in Prostaglandin Inhibition.
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I am here because, like most of you, I devour films, I am a ceaseless filmgoer, and I have especial admiration for Mr. Chaplin and his work, without which we would have a large void and probably little if any interest in silent film. He remained stubbornly independent, making personal films with varying degrees of success until he was well into his 70s. He completed "The Great Dictator" when he was 51.
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The film you have just seen was banned, for obvious reasons, in Nazi Germany. It was also banned in Italy. And Spain. And occupied France. And for a nervous two weeks, it looked like it would have been banned in parts of California.
It was premiered October 15, 1940, over a year before we entered World War II, at a time when 96% of America was proudly Isolationist, when Adolph Hitler was "good press," and when an announcement that The Funniest Man In The World was going to make a satire about dictators would bring sneers, protests, and violent threats from pro-Fascist groups in the United States.
The Longshoremen's Union was prepared to stand guard at the Hollywood premiere in the event of pro-Nazi demonstrations.
And all this for just a movie.
These days it would be hard to envision a similar circumstance, perhaps someone satirizing the lunacies in Iran or Libya, but even then, our response would not be as so emotionally charged as the reception this film got. Perhaps the Evils we see today are not great enough, perhaps they are too closely woven into our everyday life to appreciate; the optimist in me hopes that we recognize these Evils for what they are, are not duped by them, and cannot, therefore, be angered when they are shaken in front of our faces with a leer and a funny hat. I would like to believe this. However, the pessimist in me knows that we have found far more subtle ways of controlling the media--a film is re-cut, a word is changed to give a movie a stronger rating and, with it, a smaller audience, theatrical distribution can be limited; and, if it's a foreign film with a politically charged theme, it can be quietly denied entrance to our country as "propaganda." On television, vice presidents find they can increase their popularity by arguing with newscasters instead of answering their questions.
Of course, I am referring to Spiro Agnew.
But I digress.
It seems that in the America of 1940 enough people had bought the Germanic fantasies. Praise was guarded for "The Great Dictator."
The few who congratulated Chaplin for having the nerve to make such a picture in the first place, at a time when the Hollywood Factories were skittish about anything anti-Nazi, wondered if Chaplin had not gotten in over his head. Many critics complained that it wasn't funny enough. Most reviewers tore the final speech to ribbons. The British loved the film, but you see, they were biased -- Hitler was bombing London to smithereens.
President Roosevelt's only comment was to complain that the film upset some of our pro-Axis friends in South America.
And at a time when anti-Semitic films were playing to packed houses in New York, the League of Decency condemned "The Great Dictator" because, in it, they claimed Chaplin expressed a disbelief in God.
For those familiar with Chaplin's working methods, this film is filled with contradictions. Chaplin had rarely worked with more than a sketchy outline, usually in his head: for "The Great Dictator" he devised a 300 page script. The bubble dance with the globe, which looks improvised, was carefully written out, shot over six days, and had its first appearance at a party eleven years before. The squawking, howling, gibbering mock eloquence of the opening speech by Hynkel was ad-libbed before the cameras. The music so integral, so carefully composed for "City Lights" and "Modern Times" was scored here in three weeks.
Even the closing speech, criticized by the left as being too sentimental and by the right as being too pro-Communist, turned up in such diverse publications from the Reader's Digest and the British Communist Party. On one occasion, Chaplin was asked to repeat it for the radio audience of 60 million. The man who had given the talkies "six months" had seized sound with relish.
Within two years it would seem that Chaplin had been pulling his punches in this film, at least when compared with the seething propaganda of a war-frenzied Hollywood. Every major studio was at War with the World -- the Three Stooges did their part, Warner Brothers sent Bugs Bunny into the Marine Corps, and the industry congratulated itself for its foresight by giving Walt Disney an Oscar for a cartoon called "Der Fuerer's Face."
Chaplin, the self-declared "peace monger," was not congratulated for having lead the parade. His championing the cause for `a second front' to help Russia during the war, in fact, resulted in having him denied re-entry to the United States after a European visit in 1952, and monitored in Switzerland by the FBI until even after his death (they were interested enough when his body was stolen in 1979 to consider enlisting the aid of a psychic in Portland, Maine).
Governments, like people without a sense of humor, have selective memories.
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(c) 1988, 2025 Jim Middleton, The Animating Apothecary |