In the second decade of the twentieth century, a man named Charlie Chaplin achieved world fame through cinema. He did so even before the cinema had come of age. Chaplin’s contribution to the development of cinema was nothing short of enormous. The time in which Chaplin’s career was flourishing, was also a time when the world was experiencing many problems.
Chaplin’s personal beliefs, in combination with the events happening in the world at the time, were a driving force in what message one of his later films carried. Many historians note the similarity of Chaplin to Hitler. One of the most apparent facts is that they were both born within four days of each other in the year 1889. Furthermore, the two men bore a resemblance as adults, and a demand for “strict control over their subordinates when, as adults, they achieved positions of power.” (Maland, 164) In the 1940’s, Chaplin chose to make a film entitled The Great Dictator, in which he played a Jewish ghetto resident under the regime of Adenoid Hynkel (also played by Chaplin).
The similarity of Hynkel to Adolf Hitler wasn’t exactly a coincidence. Being Chaplin’s first sound film with dialogue, he decided to make it an attack on fascism. The leading symbol of fascism in that time, of course was Hitler. In the film, Hynkel is portrayed as a loud-mouthed fanatical fool. (McDonald, Conway, Ricci, 206) Chaplin always disliked the idea of being compared to the German ruler, despite the obvious similarities. There is much evidence that Chaplin had a good reason to dislike the Nazis, despite the many similarities he had in his public appearance.
The Essay on Charlie Chaplin Film As Information
by Nicole T. Simon ian (Business Economics with Accounting major) When a critic examines the silent films of Charles Chaplin a question that arises is whether the comedy he portrayed is a mockery of political and current issues, or a means to bring laughter to viewers. Silent films generated different emotions and thoughts since a spectator was simply watching actions rather than hearing an ...
He had a great dislike for authoritarian government, especially its dehumanizing aspects. These beliefs were brought into full light with a 1937 short story Chaplin wrote entitled: Rhythm: A story of Men in Macabre Movement. Al Hirschfeld said “Chaplin was on the side of the angels. He was for the downtrodden… .” (Vance, 299) Chaplin’s memoirs and public statements made it clear that he felt great disgust with Anti-Semitism.
He had spoken out against it many times, and it was clear that he had never intended it as a PR move. Also, keep in mind that during this time pro-Jewish feelings were not received warmly when openly expressed in the public. The Nazis objected to Chaplin entirely, which is to be expected. Germany strove to cast a dark light on Charlie, and the Jews.
An extremely Anti-Semitic paperback that was published in Nazi Germany insulting Jewish intellectuals and included Chaplin as one of them, calling him “a little Jewish acrobat, as disgusting as he is tedious.” (Maland, 172) The film The Great Dictator was considered a turning point for Chaplin. He was no longer “The tramp” in films. A real job and a social standing, as a Jewish barber, had replaced his comical mannerisms and out-of-touch approach to life. His decision to do the film made sense for the time, seeing as he had a great disdain for the German government. It also would not be an overstatement to say that Chaplin harbored a small “grudge” against the German regime.
The film progresses steadily to its controversial anti-Nazi climax. Charlie the barber is mistaken for the dictator (Hynkel) and is marched to the podium by his supporters to deliver a speech to the congregation. Upon arriving there, the barber rallies himself to deliver a noteworthy speech against the evils of fascism and dictatorship. The speech he delivers goes as follows: I’m sorry, but I don’t want to be emperor.
I don’t want to rule or conquer anyone. I should like to help everyone, if possible — Jew, Gentile — black men — white… The way of life can be beautiful, but we have lost the way. Greed has poisoned men’s souls — has barricaded the world with hate — has goose-stepped us into misery and bloodshed. We have developed speed, but we have shut ourselves in. Machinery that gives abundance has left us in want.
The Essay on Great Depression Speech
My fellow Americans as you have noticed were are to be found in a state of great depression. To alleviate this state of depression my companions as well as myself have develop plan call the New Deal. This plan will benefit each and everyone of us for a better economic state. A certain aspect of this plan that I wish to discussed with you tonight is the Securities and Exchange Commissions ...
Our knowledge has made us cynical; our cleverness, hard and unkind. We think too much and feel too little. More than machinery we need humanity. More than cleverness we need kindness and gentleness.
Without these qualities, life will be violent and all will be lost. We are coming out of the darkness into the light! We are coming into a new world! 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. Look up, Hannah! Look up! At this, many of the Nazi soldiers begin cheering and supporting their leader’s new message. The movie seems to strike a chord of hope, that unity might still be attainable in the dark days that they are all facing.
(McDonald, Conway, Ricci, 207) The conclusion of The Great Dictator in many ways was just a wish, which was only lightly thought of as maybe becoming a reality. At this point, Chaplin seemed to be pouring all of his faith in humanity in a speech being delivered by a Jewish barber in a film. Many critics found such a contrast inappropriate for a film that was based so heavily on comedy. As Cotes and Niklaus put it, “Satire, ridicule, comedy, pathos, the dualism and opposition of the main characters all forgotten, Chaplin the Crusader speaks to mankind.” In the end, critics were left more suspicious of Chaplin’s motives, rather then moved by his sentiments.
(Maland, 167) Sadly, the progressiveness of Charlie’s speech was one of the many things that factored into the decay of Chaplin’s celebrity image. Rob Wagner, who wrote on Chaplin shortly before he went to trial several years later, says this: “In making The Great Dictator… Chaplin made himself a threat to the Fascists, even those in America who have leanings towards Fascism, under no matter what name. And in [Post 1940’s events], these domestic fascists…
found a convenient situation that enabled them to discredit Chaplin’s name” (Maland, 219) Chaplin had alienated the right wing in America. When Charlie was the lovable tramp, he had alienated no one. When he dropped the tramp image, which was his safety net early on in his career, he fell victim to Hollywood and all of the negative press that can come with it. After alienating the American right, Chaplin drew sympathy and support from the American left.
The Essay on Chaplin Charlie Films Film
Charlie Chaplin Charles Spencer Chaplin was born on April 16, 1889 in Walworth, London, and lived a Dickensian childhood, shared with his brother, Sydney, that included extreme poverty, workhouses and seeing his mother's mental decline put her into an institution. Both his parents, though separated when he was very young, were music hall artists, his father quite famously so. But it was his mother ...
This only added to problems however, in that he was now more prone to attacks accusing him of “leftism.” Another facet of Chaplin’s life that was adversely effected, was his love life. He could no longer fuse his own personality with that of the tramp, and try to gain sympathy through that fusion. Charlie Chaplin’s stark political views were a major factor in the decline of his popularity. It’s ironic, that in retrospect, Chaplin was merely a voice of common sense, and for it he was cast out of the country that brought him his fortune. As David Gernstein puts it: “Perhaps Charles Chaplin himself was Adenoid Hynkel’s sorriest victim.”
Bibliography:
Gernstein, David. “Charlie Chaplin: An online Celebration” (February 1996) 14 December 1996.
web Charles Chaplin and American Culture: The Evolution of a Star Image. Princeton: Princeton UP, 1989. McDonald, Gerald ed. , and Conway, Michael ed.
, and Ricci, Mark ed. The Films of Charlie Chaplin. New York: Bonanza Books, MCM LXV. Vance, Jeffrey Chaplin: Genius of the Cinema. New York: Harry N. Abrams, Inc, 2003..
