{"id":12858,"date":"2011-09-04T21:13:51","date_gmt":"2011-09-04T20:13:51","guid":{"rendered":"http:\/\/www.filmdetail.com\/?p=12858"},"modified":"2011-09-04T21:39:02","modified_gmt":"2011-09-04T20:39:02","slug":"the-great-dictator-final-speech-inception-music-hans-zimmer-time","status":"publish","type":"post","link":"https:\/\/www.filmdetail.com\/2011\/09\/04\/the-great-dictator-final-speech-inception-music-hans-zimmer-time\/","title":{"rendered":"The Great Dictator meets Inception"},"content":{"rendered":"
Hans Zimmer’s Inception score<\/a> makes for a stirring backdrop to Charlie Chaplin<\/a>‘s climactic speech<\/a> from The Great Dictator<\/a><\/strong> (1940).<\/p>\n Chaplin’s first talking picture was ahead of its time: a stirring condemnation of Hitler<\/a> and facism<\/a>, it was initially banned by the UK government due to the appeasement policy<\/a> with Nazi Germany<\/a>, although later became a hit, partly due to its wartime propaganda value.<\/p>\n There were many odd parallels between Chaplin and Hitler: both were born in April 1889, Chaplin’s Tramp character<\/a> and Hitler had a similar moustache<\/a> and both struggled in poverty before reaching global fame.<\/p>\n Chaplin’s son later described<\/a> how his father was haunted by the similarities:<\/p>\n “Their destinies were poles apart. One was to make millions weep, while the other was to set the whole world laughing. Dad could never think of Hitler without a shudder, half of horror, half of fascination.”<\/p><\/blockquote>\n The film was bold in its ridicule of Nazism and its depiction of an anti-Semitic\u00a0authoritarian regime.<\/p>\n Watch this appreciation by The New Yorker’s Richard Brody<\/a> from earlier this year:<\/p>\n<\/a><\/p>\n