History Daily - Charlie Chaplin Premieres The Great Dictator

Episode Date: October 15, 2025

October 15, 1940. Charlie Chaplin premieres The Great Dictator in New York City, a satirical film that mocks Adolf Hitler and becomes the comedian’s greatest box office success. Support the show! Join Into History for ad-free listening and more.History Daily is a co-production of Airship and Noiser.Go to HistoryDaily.com for more history, daily.

Salku X, tapam we're again. Viser number, five vhietta, Arvauksia, Patheria. Palkintona X-Pengue G-K-Sahcrow, Towsin-Omack-Tor

10-weekcua'clock F over-Fourt. A-Laircquidist. It's midsummer 1938, outside the Museum of Modern Art in New York. City. 40-year-old French filmmaker René Claire exits a yellow cap, slams the door shut behind him, and rushes toward the museum because he's running late. Waiting inside is Renee's friend and fellow

filmmaker, 49-year-old Charlie Chaplin. Renée spots Chaplin across the lobby and waves. Together, they then hurry down a hallway and reach MoMA's in-house movie theater. An Usher recognizes them immediately, draws back the curtain and beckons them into the theater without asking for tickets. The room is already full because tonight MoMA is screening a controversial film. Lenny Riefenstahl's Triumph of the Will is her 1935 owed to the German fascist dictator Adolf Hitler. It has already been banned in several countries, but the MoMA film curator believes it should be studied even if its message is toxic. Renée settles into his seat as the lights dim. The audience then falls into silence and the projector begins to roll.

On screen, Hitler struts before large crowds. Soldiers march in unison and swastik assembles emblazoned every surface. Renée sits rigid in his seat. The spectacle terrifies him, and he feels sick at the sound of Hitler's rasping, aggressive voice booming through the loudspeakers. Through the darkness, Renee glances at his friend, and at first he doesn't believe what he's seeing. He thinks perhaps Chaplin is crying, but then he figures out that Chaplin is not weeping. He's laughing. Charlie Chaplin's reaction to triumph of the will horrifies the rest of the audience. But what they don't realize is that behind his laughter is an idea. And by the time Chaplin leaves the theater, he's resolved to gamble his fortune and reputation on a movie that will change his career forever,

one way or the other. He's decided that he will write, direct, and star in a satire that mocks Adolf Hitler and Nazism. The result will be the great dictator, Chaplin's most significant success and fiercest challenge, and it will be unveiled to the world at its premiere in New York City on October 15, 1940. Hey there, Lindsay Graham here. Before we get to the rest of the show, a quick word about something exciting I'm planning, a live show, me on stage with a microphone in one hand and a fistful of stories in the other.

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coer. Couttax. Don't jay-kydist. From Noiser in Airship, I'm Lindsay Graham, and this is

History Daily. History is made every day. On this podcast, every day, we tell the true stories of the people and events

that shaped our world. Today is October 15th, 1940, Charlie Chaplin premieres the great dictator. It's April 16, 1939 in Beverly Hills, California, almost a year after Charlie Chaplin saw triumph of the will. Chaplin sits at a table beside his swimming pool.

He leans over a typewriter striking the keys with steady precision, and as he finishes each page, it joins a growing stack beside him. At his elbow is a book, its cover worn from use. It's called The Jews Are Looking at You, and it was published by the Nazis in Germany five years ago. Its pages are full of crude caricatured, and anti-Semitic lies. But one line in particular has seared itself into Chaplin's mind.

It's a description of himself. The Nazis call him a disgusting Jewish acrobat. Chaplin is not Jewish and tells newspapers that he has not had that honor when they ask. But that's not what's interesting to Chaplin. What matters is the mention itself. In singling him out, the Nazis have inadvertently recognized his influence. To Chaplin, it's evidence that they fear his ridicule and the thought, has kept him at the typewriter every day for weeks, even today, on his 50th birthday.

Chaplin and Adolf Hitler entered the world in the same week in April of 1889, but their lives have taken very different paths. Chaplains began in South London. His father was a music hall singer who died of alcoholism before the age of 40. His mother was also a performer, but she was admitted to an asylum due to mental illness at a similarly young age. So Charlie spent time in London workhouses from the age of seven before finding an escape in the theater. At 12, Chaplin took part in a stage show

and soon became a music hall comedian. By the time he turned 21, he was touring America with a vaudeville troupe, and just a few years later, he began making the silent films that would make him famous. By the end of World War I, Chaplin was a household name across the country. Over the next 20 years, while Hitler steadily accumulated power in Germany, Chaplin perfected his art in Hollywood. His most famous creation was The Tramp, a hapless vagrant with a bowler hat and toothbrush mustache. Silent but expressive, the Tramp became one of the most recognized characters of the age. But by the 1930s, synchronized sound had taken over Hollywood. Many assumed that in the new era of the Talkies, a silent star like Chaplin would struggle,

and at first he did insist on keeping the Tramp silent, releasing City Lights in 1931 and Modern Times in 1936. Both films were global hits, proving that audiences still loved his character, even if he didn't talk. But Chaplin knew he couldn't keep doing the same thing forever. The world was changing, and Chaplin needed something new. So now, in 1939, while Hitler commands a nation and dreams of an empire, Chaplin sits in California, determined to bring the Fuhrer down with comedy. He spends the entire day of his 50th birthday working on a script for a film he calls the Great Dictator. He's come up with two characters.

One is Adenoid Hinkle, a dictator who parodies Hitler. The other is a gentle Jewish barber who looks just like him. Through his two lead characters, Chaplin hopes to contrast cruelty and humanity. But when Hollywood executives hear about this project, they urge Chaplin to stop. He may be a superstar, but the script is just too controversial for the major studios. They all refuse to finance the project, but that doesn't deter Chaplin. He ignores the example. executives' warnings and resorts to self-financing the movie. So soon, Chaplin's Hollywood

studio echoes to the sound of carpenters building palaces fit for a dictator and costume designers making uniforms that mimic Nazi regalia. But as preparations for the movie gather pace in California, across the Atlantic, Europe is sliding toward war. By the summer of 1939, conflict seems inevitable, and in his private screening room, Chaplin watches the newsreels obsessively. But it's not the latest updates on peace negotiations he's interested in. Instead, he studies Hitler's voice, the jerks of his arms, even the twitch of his mustache. He memorizes the strut, the posture, the performance of power. Each newsreel is research, bringing Chaplin closer to his biggest and riskiest role yet

because Chaplin knows the stakes. This will be his most ambitious project, his first talkie, and the most openly political statement of his career. If it fails, it will ruin him. a year after Charlie Chaplin began writing The Great Dictator. At Chaplin Studios on Sunset Boulevard, staff gather around a radio perched on the front desk. They listen in silence as Great Britain declares war on Nazi Germany. A messenger sets down a bundle of Chaplin's final scripts for the Great Dictator and stops to hear the frightening news.

The rest of the world may be embarking on a destructive conflict, but for now at least the United States remains neutral, and in Hollywood work continues as used. So a few days later, production begins on Chaplin's latest movie The Great Dictator. Filming is carried out under strict secrecy with a paired-down cast and crew. Chaplin wants to maintain the element of surprise and goes to great lengths to control what the press and public get a glimpse of. And on set, Chaplin is just as exacting.

He directs himself in the role of Adenoid Hinkle, his parody of Adolf Hitler. But progress is slow. Under the glare of the hot studio lights, Chaplin demands endless retakes. He choreographs soldiers' marches and rehearses speeches repeatedly, but his high standards only drive up the costs, and rumors soon start in Hollywood that Chaplin is bankrupting himself. Still, Chaplin pushes forward, and by December, crew members have begun to notice how his role as Hinkel affects Chaplin.

When he steps on set in his fascist uniform, he is suddenly cooler, more abrupt, even at times uncharacteristically rude. Chaplin himself is disconcerted by the effect and quickly snaps out of it. Still, his colleagues can see how much the entire production is consuming him. And coming up is the filming of one of the biggest challenges in the movie, a sequence that comes to be known as the Globe Dance. When planning the set for Hinkle's office, Chaplin studied photographs of Adolf Hitler's chancelry in Berlin.

He noticed that the dictator's workspace was dominated by a huge globe, and he had it reproduced in Hinkle's office as a giant. inflatable balloon. So in the movie, Hinkle will caress it like a toy, tossing the world into the air, twirling with it, until the balloon bursts in his arms. Japlin spends weeks perfecting the dance, and just before Christmas 1939, he devotes three full days to shooting the routine. He then returns to the sequence in January and February for retakes, performing the dance again and again. The attention to detail is obsessive, and it adds more time to the schedule and more money to the budget.

So by the spring of 1940, shooting has stretched on for six months and far beyond the studio where Chaplin's pretend dictator dances for the camera, a real one is tightening his grip on Europe. As Hitler launches his blitzkrieg assaults, Chaplin grows uneasy. His satire suddenly seems frivolous,

and he begins to wonder whether parody even has a place in a world increasingly drowning in violence and death. But ultimately Chaplin decides his first instincts were right. Comedy is a weapon, and Chaplin has a duty to use it against fascism. So with his crisis of confidence over, Chaplin throws himself back into the production. His new obsession is the film's ending.

His first idea is for the barber who's been mistaken for Hinkle to deliver a comic speech at a rally that then inspires a folk dance of togetherness. Chaplin rehearses it endlessly, yet the more he re-blocks it, the flatter it falls. So he retreats to his dressing room where he decides to jump the ending and write a new one. But as he works on the revised scene, word arrives of Hitler's assault on France. Enraged and despairing, Chaplin reworks his finale into a plea for peace and sanity. And on the same day, Hitler arrives in Paris. Chaplin steps on to set to deliver this speech.

By the time the camera cuts, the crew is dumbstruck. They've never seen anything like it, and most of them are certain, the new ending is destined for the cutting room floor. Still, at least they have it in the can, and the film is finally finished, or so people thought. Because when Chaplin watches the first raw cut of the movie, he is horrified. He finds countless flaws and immediately calls the crew back.

Sets are rebuilt and scenes reshot, until finally, after 559 days of work, the Great Dictator is ready for its premiere. But as the date approaches, Chaplin's doubts will creep back. He will begin to feel the weight of everyone else's concerns about the project, and he'll wonder if his gamble has been a terrible mistake.

Taparming yet, five number, five vhietta, arvokes, and pouttellu, Poweria. Palkintona X-BG-G-K-Sacko, Towsin-omaxe.

10-weekquo-a-rax to codeozoiteess Power.5-5-coutta-X. Don't jay-kydist. It's the evening of October 15, 1940 at the Capitol Movie Theater in New York City. Inside the packed venue in Times Square, Charlie Chaplin fidgets nervously as a projector words to life behind him. For the first time in his career, the world is about to hear his voice in a movie. The opening images flicker across the screen. The audience laughs at his

parody of Adolf Hitler, but Chaplin grips the armrest, his knuckles whitening, with war already consuming Europe and America debating whether to end up. intervene. He's worried his lampoon of tyranny could seem inappropriate. But the audience reacts just as Chaplin hoped they would, laughing at the jokes, but also recoiling in the moments that show Hinkle's brutality. And then at the end of the movie, when the barber is mistaken for Hinkle and takes his place at a mass rally, he's implored to address the audience and call for peace. But when the speech begins, it soon becomes clear to the watching audience that the man behind the podium isn't the barber or Hinkle. It's Chaplin himself. Dropping his character,

Chaplin looks straight down the lens and breaks the fourth wall to say, we think too much and feel too little. More than machinery, we need humanity. More than cleverness, we need kindness and gentleness. Without these qualities, life will be violent and all will be lost. The audience in Times Square listens in rap silence, and then applause breaks out. Viewers stand. Viewers stand. cheer and call Chaplin to the stage. One critic later describes the moment as if the greatest angel in the calendar of Saints and Angels had taken a stand. Back in Hollywood, letters pour in to Chaplin's studio.

Some say he's gone too far, others that he has bravely done what no politician would dare. With his absurd tyrant, Chaplin has faced down a real monster. The great dictator goes on to become the biggest box office success of Chaplin's already glittering career. Years later, in the wake of revelations about the Holocaust, Chaplin would admit that if he had known the full horror of Hitler's crimes, he would never have made the film. Still, Chaplin proved the power of cinema as both entertainment and a weapon of conscience

when the Great Dictator received its world premiere on October 15th, 1940. Next, on History Daily, October 16, 2017, a crusading reporter on the island of Malta is assassinated. From Noiser and Airship, this is History Daily, hosted, edited and executive produced by me, Lindsay Graham, audio editing by Jake Samson, sound designed by Molly Bond, music by Throne. This episode is written in research by Olivia Jordan, edited by William Simpson, managing producer Emily Byrhe. Executive producers are William Simpson for Airship and Pascal Hughes for Noiser. Vibeyevettes, Arvations, Parenthood, power, power. Palkintone X-Peng G-6 Sacko,

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