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Movie Review: 'The Great Dictator' (1940)
by The Shadow
3 August 2005
This Charlie Chaplin movie just might have been the best jew propaganda of all time. I know that's saying a mouthful and that I'll have to back it up.
Let me go about backing it up this way. Can you think of any other single thing that has ever been said or done by the jews to cause millions of White men to go to war for them? Well, after having just seen the movie and learning it was made in 1940, I have to say that this very film must have been responsible at least in part for the enlistments of millions of young Americans early on in World War II.
The primary reason I have come to this conclusion is that, given that the movie obviously was intended to bring Americans into the war (as I hope to demonstrate), it would hhave to either have been successful in its purpose or else backfire badly. Obviously, the movie didn't backfire, since young American men fell over themselves volunteering to die for the jews in the early 1940s.
[DISCLOSURE: I came into this movie 10 or 20 minutes after it had begun and turned it off 50 minutes before it was over. Granted that the hour was late, but my decision to turn it off was more than just the time of day. Watching "The Great Dictator" is, for a White man, like watching his son lose a boxing match to an opponent who clearly outclasses him. he wants to, but he just can't beat to, sit through the rest of the fight, so he goes home and dreams about his son's loss.]
As I first tuned into the movie, Chaplin, acting in the role of Adenoid Hinkel was animatedly addressing the people of Toumania [the Teutons] from the window of a palace. Hinkel, need I explain, was Adolf Hitler addressing the people of Germany. Unfortunately, the real Hitler was fairly easy to mock, and Chaplin mocked him with ability and with abandon.
Whenever the camera was behind chaplin, it captured both hiself and a German news reel of a Hitler crowd projected onto a wall in front of him. When the camera was in front of Chaplin, behind hime were rows of faux military men of the Third Reich sitting and listening to him as well.
One of this military staff was Herring (Goering) and another was Garbage (Himmler). the movie was full of such language gags, which came trippingly off the tongue of the little tramp. There were so many of them, in fact, that thousands of White Americans with an extra quarter in their pockets could have been counted on to go back to see the movie again, just to make sure they didn't miss any of Chaplin's jokes.
Chaplin must have been hilarious in the movie theaters of the time, taking off on Hitler speaking to one of his huge crowds. He did it entirely in burlesque German and with all the attendant gestures. When he was finished speaking and after he had strutted arounde the stage sufficiently, he was then knocked down the steps of the palace when Herring accidentally bent over and bumped Hinkel with his big, fat ass. Need I add, there were numerous other sight gags, too.
The movie could be described as a mixture of the Marx Brothers, the ADL, and Gene Kelly. Falling down the steps after speaking to tens of thousands of Germans gathered below was an example, of course, of the Marx Brothers, as was a woman who later on in the movie kept bopping German storm troopers over the head with a frying pan as she leaned out of her window. Then, there was a very serious German Jew in the movie by the name of Mr. Jacobs, who would intone about the persecution of jews in Toumania. Jacobs was clearly an early Abraham Foxman. The Gene Kelly character was charlie Chaplin as a jewish barber (he obviously played two roles in the movie) who had a barbershop next to Jacobs' apartment house. Here was a mixture that should have bombed in the theaters, but Chaplin was great enough to pull it off.
Let me tell you, that little jew could dance. In fact, he was also a helluva acrobat. As Hinkel, he climbed up the draperies at one point (or was pulled up), saying to one of his lieutenants while he was up there, "I want to be alone." Later, as the jewish barber, he dances up the street and then back down the street, as storm troopers advance toward him from both ends, doing a great Gene Kelly -- without the rain or the singing.
While he was up there on the draperies, Hinkel's comment about wanting to be alone was a takeoff on Greta Garbo, of course. Then, after one of his lieutenants seriously disappointed him, Hinkel says to no one in particular, "Why has he forsaken me?", clearly taking off on Christ on the Cross.
The gall of these jews never ceases to amaze us White people. It's one of the reasons we typically are unable to come to grips with their shenanigans. They're just too outrageous for us to believe. Here, the whole point of the movie was to get White Christians into World War II so that they could kill Hitler for having removed the jews from power in Germany. Yet, Chaplin goes and mocks Christ right in the middle of the fucking movie, and gets away with it, to boot! He's also mocking Germans, of course, who made up a large part of the American population at that time, and likewise Italians, (by referring to Mussolini as Macaroni), while Italians were the largest identifiable segment of Americans in the military.
Anyhow, going back to where I came into the movie, after Hinkel recovers from falling down the steps of the palace, he walks outside to get into his touring car, where he is met by several beautiful little German girls who present him with flowers. So, again Chaplin is mocking White people. After receiving the flowers, in his stage German he begins encouraging German women to have plenty of children who will grow up to be his soldiers -- ironic again, in that the movie's whole intent was to enlist Germans (as well as others) in America to be Chaplin's soldiers.
The movie then switches to Chaplin as the jew barber just back from a military mental hospital where he had been kept for the amnesia he developed during the First World War -- yet another irony in that we have the typical jew goldbrick avoiding military service by developing an unprovable condition. Anyhow, the barber is welcomed home by Neighbor Jacobs who just happens to have a beautiful girl living in his apartment building (he's a Jewish landlord, of course), which leads me to another irony I saw in this film but that the jews apparently missed. Jacobs tells the barber that the beautiful girl's father had been killed in the First World War and that her mother just died the year before. "So what could I do but let her stay here?" says the benevolent jew. Yet, the girl takes in laundry and scrubs floors for him. Such semitic charity. In fact, I couldn't help but think that Jacobs was banging her too.
It's really another big joke that this beautiful White girl is supposedly a jewess living in the "ghetto" along with Jacobs, the barber, and their innocent sheeny neighbors. You can bet your right arm that Chaplin was banging this shiksa between takes, just like little Dustin Hoffman, who used to give White girls screening tests while dressed in briefs.
When a German officer recognizes the barber as a soldier who saved his life in the First World War, he says to Chaplin: "Funny, I always thought you were an Aryan." To which Chaplin replies, "I'm a vegetarian." So clever the wit the woids, these jews. The officer then instructs his storm troopers to leave Chaplin and his neighbors alone. The troopers, incidentally, wear helmets like the Kaiser used to wear, look like Irish cops, and ride around in roadsters like Hinkel's.
At one point, the beautiful girl in Jacobs' building gives a corny soliloquy to the American Whites watching the movie, during which she says, "Wouldn't it be wonderful if we could all just be left alone to get along together" or words to that effect. And at another point, landlord Jacobs says to no one in particular that the storm troopers will be defeated by people (he means by American Christians) if we will all just join together to oppose them.
There's still another irony in the movie that, for whatever reason, the jews let remain. It seems that Hinkel needs to finance his military campaign by borrowing money. The person he must go to for the money is named Epstein. I mean, it's the Epsteins who always finance wars, isn't it?
Chaplin portrays Hitler as a silly little megalomaniac. Herring (Goerring) brings Hinkel crazy inventors who promise to make his army ever more powerful. One inventor has a bulletproof silk suit, and Hinkel shoots him dead in a test of the suit's effectiveness. Another guy has a parachute in his hat that fails to open when he jumps out of Hinkel's window. The message I got from all this Marx Brothers stuff was that Hitler was not only dangerous but also a moron who really wouldn't be difficult to stop.
Garbage (Himmler) tells Hinkel that soon they will have not only a completely blond Toumania but also a blond Asia, a blond America, etc., with all of them led by a brunette (Hitler, of course). To which Hinkel replies, "First, we get the jews, and then the brunettes." Clearly, jews are no more harmful to White people than brunettes.
Unfortunately, the entire production appeared to be an extremely effective way of entrapping Americans and also of making gobs of money for little Charlie Chaplin, who went on to live a long and prosperous life after decent White men had bled their way across Europe to avenge him and his brethren.
What I also found really galling about this movie was not just that it was successful propaganda aimed at killing us off in service to the jews, but that a jew wrote it, directed it, and starred in it, and then actually sold it to us for millions of dollars. Perhaps the reason Sam Francis never named the jew was that he came to realize that he was not just a member of the stupid party. He was also a member of the stupid race.
THE SHADOW
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