The Great Dictator Movie Free Download

A Jewish Barber: I'm sorry, but I don't want to be an emperor. That's not my business. I don't want to rule or conquer anyone. I should like to help everyone if possible; Jew, Gentile, black man, white. We all want to help one another. Human beings are like that. We want to live by each other's happiness, not by each other's misery. We don't want to hate and despise one another. In this world there is room for everyone, and the good earth is rich and can provide for everyone. The way of life can be free and 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. 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. The airplane and the radio have brought us closer together. The very nature of these inventions cries out for the goodness in men; cries out for universal brotherhood; for the unity of us all. Even now my voice is reaching millions throughout the world, millions of despairing men, women, and little children, victims of a system that makes men torture and imprison innocent people. To those who can hear me, I say, do not despair. The misery that is now upon us is but the passing of greed, the bitterness of men who fear the way of human progress. The hate of men will pass, and dictators die, and the power they took from the people will return to the people. And so long as men die, liberty will never perish. Soldiers! Don't give yourselves to brutes, men who despise you, enslave you; who regiment your lives, tell you what to do, what to think and what to feel! Who drill you, diet you, treat you like cattle, use you as cannon fodder. Don't give yourselves to these unnatural men - machine men with machine minds and machine hearts! You are not machines, you are not cattle, you are men! You have the love of humanity in your hearts! You don't hate! Only the unloved hate; the unloved and the unnatural. Soldiers! Don't fight for slavery! Fight for liberty! In the seventeenth chapter of St. Luke, it is written that the kingdom of God is within man, not one man nor a group of men, but in all men! In you! You, the people, have the power, the power to create machines, the power to create happiness! 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 fulfill that promise. They never will! Dictators free themselves but they enslave the people. Now let us fight to fulfill 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! Hannah, can you hear me? Wherever you are, look up Hannah! The clouds are lifting! The sun is breaking through! We are coming out of the darkness into the light! We are coming into a new world; a kindlier world, where men will rise above their hate, their greed, and brutality. 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. Look up, Hannah. Look up!

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.[23] Chaplin's appreciation for Wagner has been noted in studies of the director's use of film music.[24] Many commentators have noted Chaplin's use of Wagner's Lohengrin prelude when Hynkel dances with the globe-balloon.[23][25][26] Chaplin repeated the use of the Lohengrin prelude near the conclusion when the exiled Hannah listens to the Jewish barber's speech celebrating democracy and freedom.[27] The music is interrupted during the dictator's dance but it is heard to climax and completion in the barber's pro-democracy speech.

The film was well received in the United States at the time of its release, and was popular with the American public. For example, Bosley Crowther of The New York Times called the film "a truly superb accomplishment by a truly great artist" and "perhaps the most significant film ever produced."[30] The film was also popular in the United Kingdom, drawing 9 million to the cinemas,[31] despite Chaplin's fears that wartime audiences would dislike a comedy about a dictator. The film earned theater rentals of $3.5 million from the U.S. and Canada[32] and $5 million in total worldwide rentals.[2]

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.[58] The case, Bercovici v. Chaplin, was settled, with Chaplin paying Konrad Bercovici $95,000.[citation needed] 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.[34] In return, Bercovici conceded that Chaplin was the sole author. 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."[59]

In 1938, the world's most famous movie star began to prepare afilm about the monster of the 20th century. Charlie Chaplin looked a littlelike Adolf Hitler, in part because Hitler had chosen the same toothbrushmoustache as the Little Tramp. Exploiting that resemblance, Chaplin devised asatire in which the dictator and a Jewish barber from the ghetto would bemistaken for each other. The result, released in 1940, was "The GreatDictator," Chaplin's first talking picture and the highest-grossing of hiscareer, although it would cause him great difficulties and indirectly lead tohis long exile from the United States.

In 1938, Hitler was not yet recognized in all quarters as theembodiment of evil. Powerful isolationist forces in America preached a policyof nonintervention in the troubles of Europe, and rumors of Hitler's policy toexterminate the Jews were welcomed by anti-Semitic groups. Some of Hitler'searliest opponents, including anti-Franco American volunteers in the SpanishCivil War, were later seen as "premature antifascists"; by fightingagainst fascism when Hitler was still considered an ally, they raised suspicionthat they might be communists. "The Great Dictator" ended with a longspeech denouncing dictatorships, and extolling democracy and individualfreedoms. This sounded to the left like bedrock American values, but to some onthe right, it sounded pinko.

Inthe classic Chaplin tradition, the movie has a richness of gags and comicpantomime, including Hynkel's famous ballet with an inflated balloon that makesthe globe his plaything. There is a sequence where five men bite into puddingsafter being told the one who finds a coin must give his life to assassinateHynkel. None of them want to find the coin and there is cheating, buteventually -- see for yourself. And there is a long, funny episode when thedictator of neighboring Bacteria, Benzini Napaloni (Jack Oakie), pays a statevisit. Napaloni, obviously modeled on Mussolini, eludes an attempt to make himsit in a low chair so the short Hynkel can loom over him. And when the two ofthem sit in adjacent barber chairs, they take turns pumping their chairs higherthan the other. There is also a lot of confusion about saluting, and Chaplinintercuts shots of the two dictators with newsreels of enormous, cheeringcrowds.

Incredibly,no one tries to stop the fake "Hynkel." Chaplin talks straight intothe camera, in his own voice, with no comic touches and only three cutaways, asthe barber is presumably heard on radio all over the world. What he says istrue enough, but it deflates the comedy and ends the picture as a lecture,followed by a shot of Goddard outlined against the sky, joyously facing theHynkel-free future, as the music swells. It didn't work then, and it doesn'twork now. It is fatal when Chaplin drops his comic persona, abruptly changesthe tone of the film, and leaves us wondering how long he is going to talk (aquestion that should never arise during a comedy). The movie plays like acomedy followed by an editorial.

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To those who can hear me, I say, do not despair. The misery that is now upon us is but the passing of greed, the bitterness of men who fear the way of human progress. The hate of men will pass, and dictators die, and the power they took from the people will return to the people. And so long as men die, liberty will never perish. Don't give yourselves to these unnatural men! Machine men with machine minds and machine hearts! You are not machines, you are not cattle, you are men! You, the people, have the power to make this life free and beautiful, to make this life a wonderful adventure. Let us use that power. Let us all unite! 2b1af7f3a8