This is the film in which Chaplin finally takes on that other notable world figure with the same moustache. And, suitably, he comes to him with comedy, and it is certainly always worthwhile ridiculing fascism. There are indeed some fine laughs in this film, well-constructed little asides that resonate with some darker undertow while also keeping the film fairly light on its feet — whether it’s Chaplin as a Jewish barber, dazed from being struck with a frying pan, doing a little dance up and down a street with boarded shops daubed with the stark words ‘JEW’, or Chaplin as the dictator Hynkel presiding over underlings demonstrating new technological advances that end up (somehow, comedically) killing them. As I’ve seen other critics note, the horror comes across effectively in these fleeting moments. Elsewhere it’s absurdity that he uses to undercut Adenoid Hynkel with his speeches (in some kind of mock-German) and his posturing, though the broadest pure comedy performance is reserved for Jack Oakie as the Mussolini stand-in, Benzino Napaloni, a true buffoon. It’s all approached with a deep earnestness, and I can appreciate that — the end has a touching quality to it that’s hokily undeniable — but the existential threat of fascism doesn’t ever really feel as if it’s captured, and the comedy never achieves more than just isolated moments of greatness. But that’s only my opinion; those who love it have purer hearts.
FILM REVIEW: Criterion Collection
Director/Writer Charlie Chaplin; Cinematographers Karl Struss and Roland Totheroh; Starring Charlie Chaplin, Paulette Goddard, Jack Oakie; Length 125 minutes.
Seen at home (Blu-ray), Wellington, Saturday 27 August 2022.
filmcentric 