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* DeathOfTheAuthor: WordOfGod is firm on the jewish barber not being The Tramp that Creator/CharlieChaplin was known for playing, that doesn't stop a lot of viewers and fans to ignore it and consider this the GrandFinale of the character, especially for those who love the irony of one of the most iconic characters of the silent cinema's farewell being through an epic RousingSpeech.
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* DeathOfTheAuthor: WordOfGod is firm on the jewish barber not being The Tramp that Creator/CharlieChaplin was known for playing, that doesn't stop a lot of viewers and fans to ignore it and consider this the GrandFinale of the character, especially for those who love the irony of one of the most iconic characters of the silent cinema's farewell being through an epic RousingSpeech. Notably, the ''Film/{{Chaplin}}'' biopic goes for this take.
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Changed line(s) 5 (click to see context) from:
* DeathOfTheAuthor: WordOfGod is firm on the jewish barber not being The Tramp that Creator/CharlieChaplin was known for playing, that doesn't stop a lot of viewers and fans to ignore it and consider this the GrandFinale of the character, especially for those who love the irony of one of the most iconic characters of the silent cinema's farewell being throught an epic RousingSpeech.
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* DeathOfTheAuthor: WordOfGod is firm on the jewish barber not being The Tramp that Creator/CharlieChaplin was known for playing, that doesn't stop a lot of viewers and fans to ignore it and consider this the GrandFinale of the character, especially for those who love the irony of one of the most iconic characters of the silent cinema's farewell being throught through an epic RousingSpeech.
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* DeathOfTheAuthor: WordOfGod is firm on the jewish barber not being The Tramp that Creator/CharlieChaplin was known for playing, that doesn't stop a lot of viewers and fans to ignore it and consider this the GrandFinale of the character, especially for those who love the irony of one of the most iconic characters of the silent cinema's farewell being throught an epic RousingSpeech.
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Changed line(s) 17,19 (click to see context) from:
%%* SignatureScene: Do not unhide without explaining why those scenes are famous.
%%** Hynkel dancing with the globe balloon.
%%** The barber's RousingSpeech at the end of the film.
%%** Hynkel dancing with the globe balloon.
%%** The barber's RousingSpeech at the end of the film.
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%%**
** Hynkel dancing with the globe
%%**
** The barber's RousingSpeech at the end of the
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Zero Context Examples. Hiding, since I believe those do qualify for the trope.
Changed line(s) 17,19 (click to see context) from:
* SignatureScene:
** Hynkel dancing with the globe balloon.
** The barber's RousingSpeech at the end of the film.
** Hynkel dancing with the globe balloon.
** The barber's RousingSpeech at the end of the film.
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**
%%** Hynkel dancing with the globe balloon.
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The entry here seems to be talking more about the film having an oudated view of the motives or psychology of the Nazis than a difference of values, since Chaplin and civilized people today both hate Nazis. I talked about it on this thread
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.Deleted line(s) 21,24 (click to see context) :
* ValuesDissonance: Chaplin's speech really doesn't fit with a modern understanding of fascism. He describes the Nazis as "machine men with machine minds" who "think too much and feel too little." It's now widely accepted that fascism is a highly [[DontThinkFeel emotional]] and [[AntiIntellectualism irrational]] movement, generally brought about by paranoia and xenophobia.
** It was FairForItsDay, considering that this could be directed at the fascist ''elite''. Both Italian and German fascism was prone to use feelings as a propagandistic tool to persuade the masses. Thus, the "thinking" part may be interpreted as a TakeThat to the cynical abuse of people's hearts - and the commoners were not allowed to think that much anyway. This may also tie in to the fact that fascist regimes were prone to be rather technocratic, proudly presenting new machinery and architecture. Italy at the time had a boost in new and megalomaniacal building projects. The "heart vs mind" analogy goes on the SlidingScaleOfIdealismVsCynicism label. The fact that Chaplin states that "we" think too much and feel too little, may also be considered a warning that all nations have the danger of fascism in them.
** Or it can be [[ValuesResonance just as easily interpreted]] as talking about "machines" behind dictatorship in general: war and propaganda, as they turn humans into nothing more than nameless cogs.
*** Similarly, that we think of the "problem" others present rather than empathizing with them.
** It was FairForItsDay, considering that this could be directed at the fascist ''elite''. Both Italian and German fascism was prone to use feelings as a propagandistic tool to persuade the masses. Thus, the "thinking" part may be interpreted as a TakeThat to the cynical abuse of people's hearts - and the commoners were not allowed to think that much anyway. This may also tie in to the fact that fascist regimes were prone to be rather technocratic, proudly presenting new machinery and architecture. Italy at the time had a boost in new and megalomaniacal building projects. The "heart vs mind" analogy goes on the SlidingScaleOfIdealismVsCynicism label. The fact that Chaplin states that "we" think too much and feel too little, may also be considered a warning that all nations have the danger of fascism in them.
** Or it can be [[ValuesResonance just as easily interpreted]] as talking about "machines" behind dictatorship in general: war and propaganda, as they turn humans into nothing more than nameless cogs.
*** Similarly, that we think of the "problem" others present rather than empathizing with them.
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FAM merged into Harsher In Hardsight, deleting
Deleted line(s) 7 (click to see context) :
* FunnyAneurysmMoment: Nearly every scene after the [[UsefulNotes/WorldWarI WWI]] sequence, especially the concentration camp sequence and the scenes of Hynkel killing his men. Chaplin himself said that if he had known the extent of the Nazis' "homicidal insanity," then he could not have made the film.
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* AwardSnub: It received five UsefulNotes/AcademyAward nominations and won none. Creator/CharlieChaplin was nominated for Best Actor and Screenplay, but not Best Director.
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Some Anvils Need To Be Dropped got cut.
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* {{Anvilicious}}: The film concludes with a 3 and a half minute speech delivered directly to the camera. While Chaplin's political views were complicated, a clear takeaway is "Down with Hitler." See SomeAnvilsNeedToBeDropped below.
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* {{Anvilicious}}: The film concludes with a 3 and a half minute speech delivered directly to the camera. While Chaplin's political views were complicated, a clear takeaway is "Down with Hitler." See SomeAnvilsNeedToBeDropped below.The anti-Nazi message isn't exactly subtle but this was the US of 1940 and a large minority in the US had some sympathy for or were impressed by the Nazi regime.
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* SomeAnvilsNeedToBeDropped: The anti-Nazi message isn't exactly subtle but this was the US of 1940 and a large minority in the US had some sympathy for or were impressed by the Nazi regime. Effective, easy-to-understand and revealing satire of Nazism and fascism was badly needed.
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* StockPhrase: "Schtonk!" alone stands for the whole film (up to the point that the German film parody of the fake Hitler diary affair is called ''Film/{{Schtonk}}'').
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* StockPhrase: "Schtonk!" alone stands for UnintentionalPeriodPiece: In some ways, the whole film (up to is actually quite ahead of its time in its satirical depiction of UsefulNotes/WorldWarII, since it openly mocked the point that Nazis when the German film parody United States was still neutral. In other ways, though, it's clearly an early-1940's film, and its depiction of Nazi Germany can seem rather jarring to modern audiences. For one thing, Creator/CharlieChaplin hadn't known the full scale of the fake Nazis' racial persecutions at the time the film was made (years later, he said if he had known, he wouldn't have made the movie at all), so he portrays the Nazis' domestic policies as much more mild than they really were, i.e. the Nazi stand-ins are shown bullying and harassing the Jews, but nothing much worse than that. For another thing, he focuses much of the plot on the rivalry between Hitler diary affair and Mussolini (er..."Hynkel" and "Benzino") over the occupation of Austria, and portrays Mussolini as a seriously intimidating rival to Hitler; the dispute over the annexation of Austria was big news in 1938, but it's only remembered as a minor historical footnote today, and Fascist Italy is called ''Film/{{Schtonk}}'').only remembered as an ineffectual ally of Nazi Germany during World War II.
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* ValuesDissonance: Chaplin's speech really doesn't fit with a modern understanding of fascism. He describes the Nazis as "machine men with machine minds" who "think too much and feel too little." It's now widely accepted that fascism is a highly [[DontThinkFeel emotional]] and [[UsefulNotes/AntiIntellectualism irrational]] movement, generally brought about by paranoia and xenophobia.
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* ValuesDissonance: Chaplin's speech really doesn't fit with a modern understanding of fascism. He describes the Nazis as "machine men with machine minds" who "think too much and feel too little." It's now widely accepted that fascism is a highly [[DontThinkFeel emotional]] and [[UsefulNotes/AntiIntellectualism [[AntiIntellectualism irrational]] movement, generally brought about by paranoia and xenophobia.
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Changed line(s) 22 (click to see context) from:
* ValuesDissonance: Chaplin's speech really doesn't fit with a modern understanding of fascism. He describes the Nazis as "machine men with machine minds" who "think too much and feel too little." It's now widely accepted that fascism is a highly emotional and irrational movement, generally brought about by paranoia and xenophobia.
to:
* ValuesDissonance: Chaplin's speech really doesn't fit with a modern understanding of fascism. He describes the Nazis as "machine men with machine minds" who "think too much and feel too little." It's now widely accepted that fascism is a highly emotional [[DontThinkFeel emotional]] and irrational [[UsefulNotes/AntiIntellectualism irrational]] movement, generally brought about by paranoia and xenophobia.
