| Cast overview, first billed only: | |||
| Charles Chaplin | ... | Hynkel - Dictator of Tomania / A Jewish Barber | |
| Jack Oakie | ... | Napaloni - Dictator of Bacteria | |
| Reginald Gardiner | ... | Schultz | |
| Henry Daniell | ... | Garbitsch | |
| Billy Gilbert | ... | Herring | |
| Grace Hayle | ... | Madame Napaloni | |
| Carter DeHaven | ... | Bacterian Ambassador (as Carter De Haven) | |
| Paulette Goddard | ... | Hannah | |
| Maurice Moscovitch | ... | Mr. Jaeckel (as Maurice Moscovich) | |
| Emma Dunn | ... | Mrs. Jaeckel | |
| Bernard Gorcey | ... | Mr. Mann | |
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Paul Weigel | ... | Mr. Agar |
| Chester Conklin | ... | Barber's Customer | |
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Esther Michelson | ... | Jewish Woman |
| Hank Mann | ... | Storm Trooper Stealing Fruit | |
20 years after the end of WWI, in which the nation of Tomainia was on the losing side, Adenoid Hynkel has risen to power as the ruthless dictator of the country. He believes in a pure Aryan state and the decimation of the Jews. This situation is unknown to a simple Jewish Tomainian barber who has been hospitalized since a WWI battle. Upon his release the barber, who had been suffering from memory loss about the war, is shown the new persecuted life of the Jews by many living in the Jewish ghetto, including a washerwoman named Hannah with whom he begins a relationship. The barber is ultimately spared such persecution by Commander Schultz, whom he saved in that WWI battle. The lives of all Jews in Tomainia are eventually spared with a policy shift by Hynkel himself, who is doing so for ulterior motives. But those motives include a desire for world domination, starting with the invasion of neighboring Osterlich, which may be threatened by Benzino Napaloni, the dictator of neighboring ... Written by Huggo
Aside from giving this film its proper socio-historical credit as one of only 2 U.S films which condemned Hitler, Naziism and the Holocaust prior to U.S. involvement in WWII, it's a great time as well. Much of the humor remains visual, and some of the funniest (and most famous) scenes are done in the silent mode (e.g. the globe). Although a bit more lacking in continuity and editing than many of Chaplin's earlier films, to do it credit simply as a passable first effort at a new medium is to damn it with faint praise. It's unique. No serious student of film can neglect to see and appreciate The Great Dictator as a classic amalgam of film talents.