Chaplin’s first film with full-fledged dialogues is an effective satire of nazism and totalitarianism in general. Its historical value is impressive if we think it was shot right before World War II, at a time there was not nearly as much information on Hitler and his regime as we have now.

For the first time, the usual visual comedy routines are relegated to a marginal role, as more space is given to the plot and especially dialogues. Chaplin plays both the victim and the perpetrator, but while his portrayal of ruthless dictator Adenoid Hynkel is still entertaining to watch, most of the Jewish Barber scenes didn’t age too well. They serve as a good counterpoint to Hynkel’s biting satire, but tend to rely on old school gags and mawkish melodrama a bit too much. The final resolution makes use of the good old mistaken identity trick, but it could have been planned out way more smoothly as identities just get swapped out of the blue with no buildup whatsoever.

The final monologue is one of the most famous moments in cinema history, and still manages to pierce your heart and hit the right spot. However, it sounded more like Charlie Chaplin making a personal statement rather than the Barber speaking, as if the man behind the curtain took over his characters in the end.