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satisfied." He is finally persuaded to spare them to keep up production.
Since the leaders were brunettes, Garbitsch advises elimination of brunettes also. "We will never have peace until there is a pure, blue-eyed, blond race — with you as dictator of the world." "Dictator of all the world!" says Hynkel. "They will worship you as a God!" continues Garbitsch. "No, no, you mustn't say it. You make me afraid of myself," Hynkel simpers, leaps across the room, and shins up a window curtain. "Nation after nation will capitulate!" promises Garbitsch. "Leave me, I want to be alone!" says Hynkel.
With Garbitsch gone, Hynkel slides down the curtain and, to the strains of the Prelude to Wagner's "Lohengrin," begins toying with the globe. Rapaciously studying countries to be conquered, he embraces the now balloon-like globe, lifting it, spinning it, bouncing it, kicking it, butting it with his head, dancing with it, jumping (in slow motion). It is a scene that enthralls one, simultaneously with its wit, its irony, its fantasy, and its ballet grace. An overdose embrace finally bursts the balloon. Breaking into tears, Hynkel sobs on the desk.
To lively (radio) strains from Brahms' "Hungarian Dance No. 5," the barber shaves an elderly customer. In strict time to the music, he rinses his hands, wipes them, pulls out a hair to test the razor, strops the razor, lathers the customer's face, shaves him, wipes the razor, wipes the face, rips off the sheet, puts the customer's hat on the customer's head, holds out his hand for the fee, all exactly in time to the musical beat.
Epstein refusing to deal with a "medieval maniac," the invasion of Austerlich is delayed. Hynkel says, "First I will deal with his people" and ominously cracks nuts. He answers Schultz's protests with the remark that Schultz needs "a vacation — fresh air — outdoor exercise"