The Great Dictator

The Great Dictator

Theatrical release poster
Directed by Charlie Chaplin
Produced by Charlie Chaplin
Written by Charlie Chaplin
Starring Charlie Chaplin
Paulette Goddard
Jack Oakie
Music by Charlie Chaplin
Meredith Willson
Cinematography Karl Struss
Roland Totheroh
Edited by Willard Nico
Harold Rice
Distributed by United Artists
Release dates
  • October 15, 1940 (1940-10-15) (New York)
  • March 7, 1941 (1941-03-07) (London)
Running time
124 minutes[1]
Country United States
Language English
Budget $2 million
Box office $5 million[2]

The Great Dictator is a 1940 American political satire comedy-drama film written, directed, produced, scored by and starring Charlie Chaplin, following the tradition of many of his other films. Having been the only Hollywood film-maker to continue to make silent films well into the period of sound films, this was Chaplin's first true sound film.

Chaplin's film advanced a stirring, controversial[3] condemnation of Adolf Hitler, Benito Mussolini, fascism, antisemitism, and the Nazis. At the time of its first release, the United States was still formally at peace with Nazi Germany. 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 also praised it as a historically significant film and an important work of satire. 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 the time.[5]


The action starts in 1918, with the defeat of the Tomainian[6] army. A Jewish barber saves the life of a wounded pilot, Schultz (Reginald Gardiner), but loses his own memory through concussion.

Chaplin as Adenoid Hynkel

Twenty years later, still suffering from amnesia, the barber escapes from his care-home to return to the ghetto. The ghetto is now governed by Schultz, who has been promoted in the Tomainian regime under the ruthless dictator Adenoid Hynkel, who looks like an identical twin of the barber (both played by Chaplin).

The barber falls in love with a neighbor's daughter Hannah (Paulette Goddard), and together they try to resist persecution by storm troopers. The storm troopers capture the barber and are about to hang him, but Schultz remembers that the barber had saved his life during the war, and restrains them.

Hynkel tries to finance his military forces by borrowing money from a Jewish banker, but the banker refuses to lend him the money. Furious, Hynkel orders a purge of the Jews. Schultz protests this inhumane policy, and is removed from office and sent to a concentration camp. He escapes and hides in the ghetto with the barber. Schultz tries to persuade the Jewish family to mount an assassination attempt against Hynkel, but they sensibly decline to participate in his violent plan. Stormtroopers search the ghetto, arresting Schultz and the barber. They are sent to a concentration camp. Hannah and her family flee to freedom in the neighboring country of Osterlich. Hynkel has a dispute with the dictator of the nation of Bacteria, a man named Napaloni (a spoof of Mussolini played by Jack Oakie), over which country should invade Osterlich. After signing a treaty with Napaloni, Hynkel invades Osterlich. The Jewish family is trapped by the invading force.

Escaping from the camp in stolen uniforms, Schultz and the barber, dressed as Hynkel, arrive at the Osterlich frontier, where a huge victory-parade is waiting to be addressed by Hynkel. The real Hynkel is mistaken for the barber while out duck-shooting in civilian clothes, and is arrested. Schultz tells the barber to go up 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.

Chaplin with Jack Oakie as Benzino Napaloni

The terrified barber mounts the steps, but is inspired to seize the initiative. Announcing that he (apparently Hynkel) has had a change of heart, he makes an impassioned plea for brotherhood and goodwill.

"You, the people, have the power to make this life free and beautiful, to make this life a wonderful adventure.
Then - in the name of democracy - let us use that power - let us all unite. Let us fight for a new world - a decent world that will give men a chance to work - that will give youth a future and old age a security. By the promise of these things, brutes have risen to power. But they lie! They do not fulfil that promise. They never will!
Dictators free themselves but they enslave the people! Now let us fight to fulfil that promise! Let us fight to free the world - to do away with national barriers - to do away with greed, with hate and intolerance. Let us fight for a world of reason, a world where science and progress will lead to all men’s happiness. Soldiers! in the name of democracy, let us all unite!"

Finally, he addresses a message of hope to Hannah, in case she can hear him.

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.[7]

Hannah hears the barber's voice on the radio. She turns her face, radiant with joy and hope, toward the sunlight, and says to her fellows, "Listen."


People of the Ghetto

People of the Palace

Uncredited Cast


According to Jürgen Trimborn's biography of Nazi propaganda film-maker Leni Riefenstahl, both Chaplin and French film-maker René Clair viewed Riefenstahl's Triumph of the Will together at a showing at the New York Museum of Modern Art. Film maker 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.

Trimborn suggests that Chaplin decided to proceed with making The Great Dictator after viewing Riefenstahl's film.[9] 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.[10]

The film was directed by Chaplin (with his half-brother Wheeler Dryden as assistant director), and written and produced by Chaplin. The film was shot largely at the Charlie Chaplin Studios and other locations around Los Angeles. The elaborate World War I scenes were filmed in Laurel Canyon. Chaplin and Meredith Willson composed the music. Filming began in September 1939 (coincidentally soon after Germany invaded Poland, triggering World War II) and finished six months later.

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. The Third Reich's repressive nature and militarist tendencies were well-known at the time. Ernst Lubitsch's 1942 To Be or Not To Be dealt with similar themes, and also used a mistaken-identity Hitler figure. But Chaplin later said that he would not have made the film had he known of the true extent of the Nazis' crimes.[4] After the horror of the Holocaust became known, filmmakers struggled for nearly 20 years to find the right angle and tone to satirize the era.[11]

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, relates that he sent the comedian a copy of the book and always believed that Chaplin decided to retaliate with making Dictator.[12]

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".[13]

In his memoir My Father, Charlie Chaplin, Chaplin's son Charles 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."[14]

Chaplin prepared the story throughout 1938 and 1939, and began filming in September 1939, one week after the beginning of World War II. He finished filming almost six months later. The 2002 TV documentary on the making of the film, The Tramp and the Dictator,[15] presented newly discovered footage of the film production (shot by Chaplin's elder half-brother Sydney) which showed Chaplin's initial attempts at the film's ending, filmed before the fall of France.[4]

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.[16] Hitler's response to the film is not recorded, but another account tells that he viewed the film twice.[17]

Some of the signs in the shop windows of the ghetto in the film are written in Esperanto, a language which Hitler condemned as a Jewish plot to internationalize and destroy German culture, perhaps because its founder was a Polish Jew.[18]

Chaplin's Tramp character and the Jewish barber

Chaplin (as the barber) absentmindedly tries to shave Goddard (as Hannah) in this image from the film trailer.

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. Famed French film director François Truffaut later noted that early in the production, Chaplin said he would not play The Tramp in a sound film, and he considers the barber an entirely different character.[19] 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 his memoirs frequently refer to the barber as the Little Tramp, Chaplin said in 1937 that he would not play the Little Tramp in his sound pictures."[20] In My Life, Chaplin would write, "Of course! As Hitler I could harangue the crowds all I wished. And as the tramp, I could remain silent." 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."[21]

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".[22] 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."[23] The Scarecrow Movie Guide also views the barber as different.[24]

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..."[25] 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..."[26]

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",[27] 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."[28] 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".[29]

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.[30]


Chaplin's film was released nine months after Hollywood's first parody of Hitler, the short subject You Nazty Spy! by the Three Stooges, which premiered in January 1940.[31] Chaplin had been planning his feature-length work for years. Hitler had been previously allegorically pilloried in the German film by Fritz Lang, The Testament of Dr. Mabuse.

The film was well received in the United States at the time of its release, and was popular with the American public. 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. It was the second-most popular movie in the US in 1941.[33]

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.[3]

When the film was released in France in 1945, it became the most popular movie of the year, with admissions of 8,280,553.[36]

The film was Chaplin's first true talking picture and helped shake off criticism of Luddism following his previous release, the mostly dialogue-free Modern Times (1936), after the silent era had all but ended in the late 1920s. The Great Dictator does feature several silent scenes more in keeping with Chaplin's previous films. Some audiences had come to expect Chaplin to make silent films even during the sound era.


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".[37]

In 2000, the American Film Institute ranked the film #37 in its "100 Years... 100 Laughs" list.[38]

The film holds a 92% "Fresh" rating on the review aggregator website Rotten Tomatoes, based on 37 reviews, three of which are negative.[39]

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 celluloid 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."[40]


The film was nominated for five Academy Awards:

The film is recognized by American Film Institute in these lists:


The score was written and directed by Meredith Willson, later to become well known as composer and librettist of the 1957 musical comedy The Music Man.

I've seen [Chaplin] take a sound track 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.[43]

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".[43]

Chaplin in the globe scene

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.[44] Chaplin's appreciation for Wagner has been noted in studies of the director's use of film music.[45] Many commentators have noted Chaplin's use of Wagner's Lohengrin prelude when Hynckel dances with the globe-balloon.[44][46][47] Chaplin repeated use of the Lohengrin prelude near the conclusion, when the exiled Hannah listens to the Jewish barber's speech celebrating democracy and freedom.[48] The music is interrupted during the dictator's dance but it is heard to complete and climax 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 nineteenth 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.[49]

Plagiarism lawsuit

Chaplin's half-brother Sydney directed and starred in a 1921 film called King, Queen, Joker in which, like Chaplin, he played the dual role of a barber and ruler of a country which is about to be overthrown. More than twenty years later, in 1947, Charles Chaplin was sued over alleged plagiarism with The Great Dictator. Yet, apparently, neither the suing party nor Chaplin himself brought up his own brother's King, Queen, Joker of the silent era.[50] The case, Bercovici v. Chaplin, was settled, with Chaplin paying Konrad Bercovici $95,000.[51] Bercovici claimed that he had created ideas such as Chaplin playing a dictator and a dance with a globe, and that Chaplin had discussed his five-page outline for a screenplay with him for several hours.[35] But Chaplin insisted in his autobiography that he had been the sole writer of the movie's script. He agreed to a settlement, because of his "unpopularity in the States at that moment and being under such court pressure, [he] was terrified, not knowing what to expect next."[52]

Home media

A digitally restored version of the film was released on DVD and Blu-ray by The Criterion Collection in May 2011. The extras feature color production footage shot by Chaplin's half-brother Sydney, deleted barbershop sequence from Chaplin's 1919 film Sunnyside, barbershop sequence from Sydney Chaplin's 1921 film King, Queen, Joker, a visual essay by Chaplin biographer Jeffrey Vance titled "The Clown Turns Prophet", and The Tramp and the Dictator (2001), Kevin Brownlow and Michael Kloft's documentary exploring the lives of Chaplin and Hitler, including interviews with author Ray Bradbury, director Sidney Lumet, screenwriter Budd Schulberg, and others. It has a booklet featuring an essay by film critic Michael Wood, Chaplin's 1940 New York Times defense of his movie, a reprint from critic Jean Narboni on the film's final speech, and Al Hirschfeld's original press book illustrations.[53]

See also


  1. "The Great Dictator (U)". British Board of Film Classification. December 9, 1940. Retrieved November 3, 2012.
  2. Jones, Lon (March 4, 1944). "Which Cinema Films Have Earned the Most Money Since 1914?.". The Argus. Melbourne: National Library of Australia. p. 3 Supplement: The Argus Weekend magazine. Retrieved August 6, 2012.
  3. 1 2 Prince of Wales Theatre (2007). "Theatre Programme, Mama Mia!". London.
  4. 1 2 3 4 Branagh, Kenneth (Narrator). Chaplin and Hitler: The Tramp and the Dictator. BBC. 2002.
  5. Chaplin, Charlie (1964). My Autobiography. 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.
  6. 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 Post, thus establishing the proper spelling.
  7. Eidenmuller, Michael E. "'The Great Dictator' (1940)". American Rhetoric. Retrieved April 1, 2012.
  8. 1 2 3 4 "The Great Dictator". Encyclopædia Britannica. Retrieved January 26, 2013.
  9. Trimborn, Jürgen (2007). Leni Riefenstahl: A Life. Macmillan. pp. 123–124. ISBN 978-0-374-18493-3.
  10. R. Cole (2001), "Anglo-American Anti-fascist Film Propaganda in a Time of Neutrality: The Great Dictator, 1940". Historical Journal of Film, Radio and Television, 21(2): 137-152. Quote: "[Chaplin sat] for hours watching newsreels of the German dictator, exclaiming: 'Oh, you bastard, you!'"
  11. "Hitler In The Movies". Searching for Hitler. Retrieved May 4, 2013.
  12. Stratton, David (February 21, 2002). "The Tramp and the Dictator", Variety. Archived at HighBeam Research.
  13. Kamin, Dan; Scott Eyman (2011). The Comedy of Charlie Chaplin: Artistry in Motion. Scarecrow Press. pp. 154–155. ISBN 978-0-8108-7780-1.
  14. Singer, Jessica (September 14, 2007). "THE GREAT DICTATOR". Brattle Theatre Film Notes.
  15. Internationally co-produced by 4 production companies including BBC, Turner Classic Movies, and Germany's Spiegel TV
  16. Charlie Chaplins Hitler-Parodie: Führer befiehl, wir lachen! (German)
  17. Wallace, Irving; Wallace, David; Wallace, Amy; Wallace, Sylvia (February 1980). The Book of Lists 2. p. 200.
  18. Hoffmann, Frank W.; William G. Bailey (1992). Mind & Society Fads. Haworth Press. ISBN 1-56024-178-0., p. 116, Quote: "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."
  19. Truffaut, François (1994). The Films in My Life. Da Capo Press,. p. 358. ISBN 978-0-306-80599-8.
  20. "The Great Dictator:The Essentials". Turner Classic Movies. Retrieved December 31, 2010.
  21. Roger Ebert (September 27, 2007). "The Great Dictator (1940) [review]". Chicago Sun-Times. Retrieved December 31, 2010.
  22. Weissman, Stephen (2008). Chaplin: A Life. Arcade. ISBN 978-1-55970-892-0.
  23. Mark Bourne. "The Great Dictator:The Chaplin Collection". DVD Journal. Retrieved December 31, 2010.
  24. The Scarecrow Video Movie Guide. Sasquatch Books. 2004. p. 808. ISBN 978-1-57061-415-6.
  25. Insdorf, Annette (2003). Indelible shadows: film and the Holocaust. Cambridge University Press. p. 410. ISBN 978-0-521-01630-8.
  26. Bernheimer, Kathryn (1998). The 50 greatest Jewish movies: a critic's ranking of the very best. Carol Publishing. p. 212. ISBN 978-1-55972-457-9.
  27. Schatz, Thomas (1999). Boom and Bust: American Cinema in the 1940s. University of California Press. p. 571. ISBN 978-0-520-22130-7.
  28. Shindler, Colin (1996). Hollywood in crisis: cinema and American society, 1929–1939. Psychology Press. p. 258. ISBN 978-0-415-10313-8.
  29. Telotte, J.P. (1999). A distant technology: science fiction film and the machine age. Wesleyan University Press. p. 218. ISBN 978-0-8195-6346-0.
  30. Flom, Eric (1997). Chaplin in the sound era: an analysis of the seven talkies. McFarland. p. 322. ISBN 978-0-7864-0325-7.
  31. Waller, J. Michael. Fighting the War of Ideas Like a Real War. p. 101. ISBN 978-0-615-14463-4.
  32. Ryan Gilbey (2005). The Ultimate Film: The UK's 100 most popular films. London: BFI. p. 240.
  33. "FILM MONEY-MAKERS SELECTED BY VARIETY: 'Sergeant York' Top Picture, Gary Cooper Leading Star", New York Times (1923-Current file) [New York] December 31, 1941: 21.
  34. Charles Higham (biographer)|Charles Higham, The Films of Orson Welles], University of California Press, 1971. ISBN 0-520-02048-0, ISBN 978-0-520-02048-1. p. 85
  35. 1 2 Friedrich, Otto (1997). City of Nets: A Portrait of Hollywood in the 1940's (reprint ed.). Berkeley and Los Angeles: University of California Press. pp. 27–28. ISBN 0520209494.
  36. French box office in 1945 at Box office story
  37. "Films Selected to The National Film Registry, 1989–2010". Library of Congress. Retrieved February 3, 2012.
  38. America's Funniest Movies. AFI's 100 Years...100 Laughs. Retrieved February 3, 2012.
  39. The Great Dictator at Rotten Tomatoes
  40. Vance, Jeffrey (2003). Chaplin: Genius of the Cinema. New York: Harry N. Abrams, pg. 250. ISBN 0-8109-4532-0.
  41. "AFI's 100 Years...100 Laughs" (PDF). American Film Institute. Retrieved 2016-08-06.
  42. "AFI's 100 Years...100 Movies Nominees (10th Anniversary Edition)" (PDF). Retrieved 2016-08-06.
  43. 1 2 Meredith WIllson (1948). And There I Stood With My Piccolo. Garden City, New York: Doubleday and Company, Inc.
  44. 1 2 James L. Neibaur (2011). "The Great Dictator (Web Exclusive)". Cineaste,Vol.XXXVI No.4 2011. Retrieved February 21, 2012.
  45. Edwards, Bill (). "Charles Spencer Chaplin". Retrieved May 4, 2013.
  46. "Charlie Chaplin in The Dictator: The Globe Scene using the Prelude to Lohengrin, Act 1". Retrieved May 4, 2013.
  47. "Ten Films that Used Wagner's Music". Los Angeles Times. June 17, 2010
  48. 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
  49. Koepnick, Lutz Peter (2002). The Dark Mirror: German Cinema between Hitler and Hollywood. University of California Press. p. 141. ISBN 978-0-520-23311-9.
  50. Garza, Janiss. "King, Queen, Joker: Synopsis". AllMovie. Retrieved May 4, 2013.
  51. "Bercovici v. Chaplin: 1947 – "the Little Tramp" Plays To A Full House, Plaintiff Claims Oral Agreement, Suggestions For Further Reading". Law Library – American Law and Legal Information. Retrieved May 4, 2013.
  52. Chaplin, My Autobiography, 1964
  53. "The Great Dictator". The Criterion Collection. Retrieved May 4, 2013.


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