The Great Dictator (Charles Chaplin, 1940) BRRip VOSE

marlowe62 · Mensaje por **marlowe62** » Mar 29 May, 2012 01:38

The Great Dictator
(El gran dictador / Le dictateur / Il grande dittatore)
(USA, 1940) [B/N, 125 m.].
Género: Comedia, Sátira política / Nazismo.
IMDb

Ficha técnica.
Dirección: Charles Chaplin.
Guión: Charles Chaplin.
Fotografía: Karl Struss, Roland Totheroh (B&W).
Música: Charles Chaplin, Meredith Willson (no acreditados).
Producción: Charles Chaplin, Carter DeHaven (no acreditados).
Productora: Charles Chaplin Productions (Charles Chaplin Film Corporation).

Premios:
- 1940: 5 nominaciones al Oscar: Película, actor (Chaplin), actor sec. (Oakie), bso, guión.

Reparto: Charles Chaplin (Adenoid Hynkel, Dictator of Tomania / Jewish Barber), Paulette Goddard (Hannah), Jack Oakie (Benzino Napaloni), Reginald Gardiner (Schultz), Henry Daniell (Garbitsch), Billy Gilbert (Herring), Grace Hayle (Mme. Napaloni), Maurice Moscovich (Mr. Jaeckel), Emma Dunn (Mrs. Jaeckel), Bernard Gorcey (Mr. Mann), Paul Weigel (Mr. Agar), Robert O. Davis), William Arnold, Henry Bergman, Chester Conklin, Carter De Haven (Bacterian Ambassador), Eddie Dunn, Eddie Gribbon, Peter Lynn, Hank Mann, Esther Michelson, Nita Pike, Florence Wright.

Sinopsis: Un humilde barbero judío tiene un parecido asombroso con el dictador de la nación Tomania, que promete sacar adelante y que culpa a los judíos de la situación del país. El dictador ataca al país fronterizo, pero es confundido con el barbero por sus propios guardias, siendo ingresado en un campo de concentración. Simultáneamente, el pobre barbero es confundido con el dictador... (FILMAFFINITY)
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Absoluta obra maestra del cine, ingeniosísima parodia antifascista cuya visión resulta imprescindible. (FILMAFFINITY)

Obra maestra del cine e ingeniosa parodia del fascismo, donde Hitler fue el blanco de sus críticas. Título con sonido rodado en plena guerra, y donde aprovecha el innegable parecido de Charlot con el dictador. Desternillante y aterrador a la vez resulta ver a Hinkel jugando con el globo terráqueo, donde hay toneladas de ironía al intentar mostrar a un dictador manejando el mundo a su antojo.

Nominada a los Oscar para película, actor (Charles Chaplin), actor secundario (Jack Oakie), música y guión. Emotivo resulta el discurso final, que es todo un grito en pro de la paz mundial y la unión de todos los hombres (DeCine21).

Una de las grandes obras maestras de Charles Chaplin fue esta sátira del fascismo y nacionalsocialismo, en definitiva del totalitarismo ideológico y opresivo.
Supuso su primer largometraje verdaderamente sonoro y en ella volcó con agudeza e ingenio una ridiculización de Hitler y Mussollini y una profética inquietud por la implantación en Alemania e Italia de los regímenes anteriormente citados, incluso antes de la Segunda Guerra Mundial, ya que este film fue estrenado en 1940 pero su guión había sido terminado antes del comienzo del conflicto bélico.
El emotivo discurso final en donde Chaplin vuelca sus ideas sobre la convivencia humana y la democracia ha pasado mercedidamente por su veraz y sentida intensidad dramática a los anales de historia del cine.
Los momentos cómicos, con especial predilección por el slapstick, son utilizados para escarnecer sus objetivos y sus poco velados propósitos (la escena del baile de Hynkel con el globo terráqueo es otro momento memorable de su carrera), y aunque no iguala en su proceder a sus mejores momentos del cine mudo, sí contiene perspicaces y creativas escenas cargadas de socarronería.
El film cuenta con una fenomenal caracterización de Chaplin y una no menos extraordinaria parodia de Mussollini llevada a cabo por Jack Oakie.
La bella y talentosa Paulette Goddard era por esos momentos esposa del genial autor (El Criticón).

AMG SYNOPSIS: "This is the story of the period between two world wars--an interim during which insanity cut loose, liberty took a nose dive, and humanity was kicked around somewhat." With this pithy opening title, Charles Chaplin begins his first all-talking feature film, The Great Dictator. During World War I, a Jewish barber (Chaplin) in the army of Tomania saves the life of high-ranking officer Schultz (Reginald Gardiner). While Schultz survives the conflict unscathed, the barber is stricken with amnesia and bundled off to a hospital. Twenty years pass: Tomania has been taken over by dictator Adenoid Hynkel (Chaplin again) and his stooges Garbitsch (Henry Daniell) and Herring (Billy Gilbert). Hynkel despises all Jews and regularly wreaks havoc on the Tomanian Jewish ghetto, where feisty Hannah (Paulette Goddard) lives. Meanwhile, the little barber escapes from the hospital and instinctively heads back to his cobweb-laden ghetto barber shop. Unaware of Hynkel's policy towards Jews (in fact, he's unaware of Hynkel), the barber gets into a slapstick confrontation with a gang of Aryan storm troopers. He is rescued by his old friend Schultz, now one of Hynkel's most loyal officers. Thanks to Schultz's protection, the ghetto receives a brief respite from Hynkel's persecution. The barber sets up shop again, developing a warm platonic relationship with the lovely Hannah. But things take a sorry turn when Hynkel, angered that a Jewish banker has refused to finance his impending war with Austerlitz, begins bearing down again on the Ghetto. Near the end of the film, when the dictator is expected to make another one of his hate-filled, war-mongering speeches, the barber steps up to the microphones...and Charles Chaplin drops character and becomes "himself," delivering an impassioned plea for peace, tolerance, and humanity. -- Hal Erickson

AMG REVIEW: After a five-year absence from movies, Charles Chaplin took on a dual role in his first full-length talking feature, famous for its comic attack on Nazi Germany (and Adolf Hitler in particular). The script was written before Hitler's invasion of Poland, and Chaplin subsequently noted that, had he known the scope of the evil perpetrated on Europe by the Nazis, he would never have made them the subject of this lampoon. Not as maniacally funny as Chaplin's classic comedies of the 1920s, The Great Dictator has more in common with Chaplin's later films, which were more lyrical in approach and more overt in their socio-political messages. In this case, the proselytising turned out to be prescient, as Hitler would soon prove Chaplin's concerns well-founded. This was one of very few films made in the West before World War II that dared to take on Hitler and Mussolini. Still, many critics found fault with Chaplin's approach, claiming that, by portraying German Nazis and Italian Fascists as schoolyard bullies and buffoons, Chaplin was cheapening the impact of their evil actions on millions of Europeans. Despite these criticisms, Chaplin's lampooning of Hitler is a moment of comic genius, complemented by Jack Oakie's ridiculously exaggerated portrayal of the Mussolini-like Italian fascist (nominated for an Academy Award as Best Supporting Actor). The Great Dictator is loosely structured, lacking the tight pace and sense of direction of Chaplin's best films: its long-winded concluding speech is the most egregious example. It was nominated for five Academy Awards, including Best Picture and Chaplin for Best Actor. -- Dan Jardine

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The.Great.Dictator.1940.BD.CC.MiniSD-TLF.mkv

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