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rotates sweet corn furiously, and generally abuses him. Another superb episode is the one in which Charlie, a waiter now, replaces an absent "cabaret turn" and delivers himself of a gibberish song so amazingly presented that we understand every word where no words have been sung, a scene fit to rank with the David and Goliath sermon of The Pilgrim or the dance of the rolls in The Gold Rush.
Charlie has a nervous breakdown, and cannot stop the mechanical gesture with which he tightens bolts all day long; and then occur the unforgettable scenes in which this human machine runs amok and tightens everything remotely resembling a bolt — even to the buttons on a woman's dress. Society then rejects the intractable and Charlie, leaving hospital, becomes one of the army of unemployed, and is responsible for one of the most brilliant ironies of the film.
Rushing to pick up a danger flag that has fallen from a lorry, he finds himself suddenly leading a parade of strikers, by virtue of having a red flag in his hands. Restored to liberty and poverty after a spell in prison as a political agitator, Charlie comes across another waif, a young girl. Every effort they make jointly to realize their dream of a little house, and a little garden and a little job ends in a journey in the Black Maria, until in the end they go off jauntily towards the horizon, towards the unknown, just as Charlie had done so many times alone.
1940 — The Great Dictator (126 minutes). Released 15th October.
Cast : Charlie Chaplin, Jack Oakie, Henry Daniell, Billy Gilbert, Grace Hayle, Carter de Haven, Paulette Goddard, Maurice Moscovitch, Emma Dunn, Bernard Gorcey, Paul Weigel, Chester Conklin, Eddie Gribbon, Hank Mann, Leo White, Lucien Prival, Esther Michelson, Florence Wright, Robert O. Davis, Eddie Dunn, Peter Lynn and Nita Pike.
From the moment of Hynkel's first appearance, decked out with the glorious sign of the Double Cross, haranguing the mob with such hysterical violence that the very microphones bend back beneath its onslaught, in a glorious jabberwocky from which the superbly coined shtunk! emerges as Hynkel's key word, we have the perfect satirical presentation of Hitler and of all dictators. The very quality and cadences of voice are there, the phoney withdrawal to the consolation of music and solitude, the maniacal rages, the hypocritical fondling of babies, the monstrous bombast and theatrical effulgence of the mouse that tried to become a mountain. Parallel with this beautifully finished study, goes the debunking of Hitler and all he represented,