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Leo Garcia
Leo Garcia

Subtitle The Great Dictator _VERIFIED_

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subtitle The Great Dictator

The criss-crossing stories of the barber and the dictator eventually ended in a case of role reversal and mistaken identities (a well-known narrative cliche), similar to Shakespeare's Love's Labor Lost, and Mark Twain's The Prince and the Pauper tale. The two intercut stories provided a striking contrast between two very different worlds, identified in the title credits as - good ("People of the Ghetto") and evil ("People of the Palace").

Due to his similar appearance in the conclusion, the Jewish barber was mistaken for the country's tyrannical dictator Hynkel, who was obviously a mocking satire of Adolf Hitler, complete with his squared-off mustache and Nazi-ish uniform. Hynkel's anti-Semitic fascist party sought to invade their neighboring pacifist country, Osterlich. [Note: Osterlich represented Austria - Österreich was the German/Austrian name for Austria.] However, another tyrannical dictator of the rival neighboring country of Bacteria - the character of Benzino Napaloni (Jack Oakie), a burlesque portrait of Italy's Benito Mussolini, was also interested in conquest. During the tale, the barber won the admiration of pretty, impoverished Jewess neighbor washer-woman Hannah (Chaplin's wife at the time, Paulette Goddard, divorced in 1942).

After the credits, one of the inter-titles provided a disclaimer: "Any resemblance between Hynkel the dictator and the Jewish barber is purely co-incidental." A prologue followed, describing the main setting of post World War I - a time of horrific destruction, senseless death, and war machines:

Actual newsreel footage of a Hitler rally was presented to demonstrate the rise of dictatorial leader Adenoid Hynkel (also Charlie Chaplin) who assumed power over Tomainia, at approximately the same time as the release of the Jewish soldier from the hospital. A narrator summarized:

Hynkel party takes power. Meanwhile, the Jewish soldier, ex-fighter and veteran of the world war, suffered a loss of memory and remained an inmate of the soldiers' hospital for many years. He was ignorant of the profound change that had come over Tomainia. Hynkel the dictator ruled the nation with an iron fist. Under the new emblem of the double-cross, liberty was banished. Free speech was suppressed, and only the voice of Hynkel was heard.

As Adenoid Hynkel has just said, yesterday Tomainia was down, but today she has risen. Democracy is fragrant. Liberty is odious. Freedom of speech is objectionable. ("Democratsie shtunk", "Libertie shtunk," and "Freisprachen shtunk") Tomainia has the greatest army in the world. The greatest navy in the world. But to remain great we must sacrifice. We must tighten our belts ("Tighten de belten!").

The translator condensed his rhetorical anti-Semitic message, delivered with extreme vehemence: "His Excellency has just referred to the Jewish people....In conclusion, the Phooey remarks that for the rest of the world, he has nothing but peace in his heart." [Note: The translation always downplayed the vitriol of the dictator's words and minimized the threat being suggested.]

In times of political turmoil and social unrest, the people are calling for visionary leaders, who will steer the fate of their country with foresight and ingenuity. Prove yourself once again as a feared dictator or peace-loving statesman on the island state of Tropico and shape the fate of your very own banana republic through four distinctive eras. Face new challenges on the international stage and always keep the needs of your people in mind. / Zootopia Reviewsp8little (translated)'Third night in Assago - What a show to be there for three consecutive concerts! The fly is the gem of the evening - U2 are so great as they are not only a band, but also true friends ...'

The Symphony No. 11 in G minor, Op. 103 (subtitled The Year 1905), by Dmitri Shostakovich was written in 1957 and premiered by the USSR Symphony Orchestra under Natan Rakhlin on 30 October 1957. The subtitle of the symphony refers to the events of the Russian Revolution of 1905, which the symphony depicts. The first performance given outside the Soviet Union took place in London's Royal Festival Hall on 22 January 1958 when Sir Malcolm Sargent conducted the BBC Symphony Orchestra. The United States premiere was performed by Leopold Stokowski conducting the Houston Symphony on 7 April 1958. The symphony was conceived as a popular piece and proved an instant success in Russia, his greatest one since the Leningrad Symphony fifteen years earlier.[1] The work's popular success, as well as its earning him a Lenin Prize in April 1958, marked the composer's formal rehabilitation from the Zhdanov Doctrine of 1948.[citation needed]

The Eleventh is sometimes dubbed "a film score without the film".[citation needed] An additional thread is provided by the nine revolutionary songs that appear during the work. Some of these songs date back to the 19th century, others to the year 1905. Shostakovich integrates them into the textures of his symphony. This use of folk and revolutionary songs was a departure from his usual style. They were also songs the composer knew well. His family knew and sang them regularly while he was growing up.[4][unreliable source] In his study of Shostakovich's symphonies, Hugh Ottaway praised the Eleventh as one of the great achievements in program music.[5]

... and in today's parlance that means regardless of race, ethnicity, gender or sexual orientation but you might struggle to know it with the polarisation that continually pulls us apart, doing more damage to culture and society than any aspiring dictator could ever do.A truly great piece of cinema from a truly great performer and genius, whose closing speech mirrors many of the concerns we perpetually live with today and to which we can add climate change and military AI as we enhance our quest for annihilation, extinction and mutually assured destruction.

Back at the dawn of the talkie era, Charlie Chaplin defended his decision not to start making sound films by saying "The moment the little tramp talks, he's dead". He was right of course. His comic persona was the creation of an era in cinema when words and voices were irrelevant. The little tramp's appeal lay entirely in how he did things, not in what he was supposed to be saying. And yet it was inevitable that if Chaplin wanted to continue in the business he would have to cave in eventually. Besides Chaplin's agenda was itself changing, and he had now reached a point in his life where he really wanted to speak to the world.Many of the early scenes in The Great Dictator seem to prove Chaplin's fears about sound film. The slapstick has lost its flow, looking forced and awkward. And it appears Chaplin has no real idea how to write or direct dialogue. Sometimes characters make some banal little comment on the action as if simply to fill up the silence. Even worse things happen when Chaplin attempts verbal humour, resorting to feeble puns like the one about the gas keeping him awake all night (not that puns are necessarily bad, just that Chaplin isn't very good at them). Above all, the visual and verbal business is poorly integrated, with a badly-timed stop-start feel. It makes it particularly jarring after a dialogue scene to see this ageing version of the little tramp doing some of his old moves, such as teetering on one foot as he runs into a squad of stormtroopers. These scenes are unlikely to raise more than a titter, and are a sad testament to the fact that this familiar character was past his prime and out of time.But this is a tale of two Charlies. For the first time in decades Chaplin creates a new character for himself in dictator Adenoid Hynkel. And the great thing about Hynkel is that he sidesteps Chaplin's inability with comedy in words but still makes use of comedy in sound. The dictator's cod-Germanic speech is part silly-voice, part linguistic nonsense and it is very, very funny. It actually adds to the humour that no-one else in the picture speaks it, and that Hynkel mostly lapses into it in moments of anger, as if it was some involuntary anxiety-driven affectation. The other great thing about Hynkel is that he is one of Chaplin's great works of satire. The nonsense language is of course a lampooning of Hitler's forceful speechmaking, but the parody continues through everything Hynkel does. Take for example when he has finished posing with the baby, and rather disgustedly wipes his hand clean. He does it with the same stiff-faced disdain that Hitler always displayed in public, but the character's puffed-up austerity is also being punctured by the fact that he's just got his hand covered in wee wee. The little tramp, a creation of and for the silent era, could not make the transition to sound. But Hynkel is a creation of and for the sound era, and he works fantastically.As the picture unfolds, it begins to gain maturity and clarity, not to mention comic brilliance. Jack Oakie's Napoloni makes a perfect partner for Hynkel, and their antics together are like the Marx Brothers at their most riotous. Napoloni is also a work of satire equal to Hynkel, with Oakie working in many of Mussolini's less dignified mannerisms, such as curling his lip and bulging his eyes like he's trying to squeeze out a fart. While Chaplin's direction is at its most overt and showy, he also cleverly and subtly gears his compositions towards ridicule, making the most of those tall set designs to show off the dictator as some little twerp. And finally, the picture acquires the poignancy that made Chaplin's silent features stand out, this time with an extra bite in the seriousness of its message. It is then that you realise Chaplin knew his little tramp was finished, and yet that he needed him here to deliver his point. By subjecting him to sound, Chaplin sacrifices his alter-ego, making a means to speak his mind to the public who had loved him. 041b061a72


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