Chaplin manages to deliver in his most well known talkie but this still isn't his best film.

Rating: 7/10 (6 January 2007)

Being quite a fan of Charlie Chaplin following good vibes after seeing first 'The Gold Rush' and then 'City Lights', I was eager to see 'The Great Dictator' as I had been told this was, arguably, his best film. I was also intrigued at the fact it was a talkie; my first one, Chaplin-wise.
The start is typical Chaplin and blatant proof that when it comes to sound, Chaplain can cut it whilst not solely relying on music to set mood and to do the talking; it's funny, well timed and the elements of slapstick such as falling off an anti-aircraft gun are well tied in with the jokes. It was good to draw the viewer in with this 'classic Chaplin' opening and at the same time, kick start the narrative of characters getting to know one another. What was also well done was the way in which Hitler is spoofed. Any scene involving Hitler or 'Hynkel' in this film, was funny and even now; makes you think back as you know exactly who he's spoofing and does create an internal reaction of some kind. The way in which English in mixed in with the mock German during the dialogue scenes is further proof of the way Chaplin managed to adapt to the talkie era. My favourite joke was the five minute speech Hynkel gave, only for the English translator to translate it into a mere few words; making you think back to footage of Hitler you may have seen giving a speech at some point in your life and, indeed, laugh at him.
Historically, the film got a few things right as well. Hynkel is seen getting his photograph taken with children; something Hitler did for recognition as he manipulated the media but here, Hynkel is seen to yawn and act bored; stabbing at Hitler's underhand technique of winning over the German public through sympathy (Oh, he hugs and kisses children. He must be OK!). The film is also given a fantastic premise of a Jewish civilian reinstalled into the ghetto amongst all the travesties going on but with the catch that he is oblivious. Films such as 'The Pianist' and 'Come and See' are two good examples of Nazi cruelty towards 'inferior' people which nowadays, we can all look back on and shake our heads at whereas back in the late 1930's when this was filmed, the fact he had the cruelty going on and was exploiting it makes it even more an astounding achievement. Chaplin has managed to replace guns and truncheons for tomatoes and saucepans and still pulls it off.
What I didn't like about the film, however, was the fact it settled into an actual narrative after the opening. This slowed the film up and this is very noticeable as the foot was taken off the gas somewhat. The film started to hint at stories and sub-stories. These included the barber and the female neighbour falling in love and the supposed destruction of Hynkel's palace whereas none of these were actually developed. The 'giving a woman a shave' and the 'whoever has the coin in their pudding does the deed' gags were hinting at these plot paths but in the end, just materialised into nothing but excuses for drawn out, unfunny gags which was disappointing.
During the final straight, The Great Dictator gets a boost from the fact the Italian dictator is introduced who adds some much needed life and excuse for comedy to the film. It works a treat as we see them argue and more underhand tactics are exploited when Hynkel attempts to 'overpower' his Italian counterpart through a series of dirty tricks (although, they are humorously foiled). Despite a few weaknesses in pacing during the middle segment and the fact I felt the message at the end was a little forced down my throat, The Great Dictator holds up for viewing today but that's only because he took the gamble of exploiting things nobody else really knew were there.