Understanding the Zeitgeist of the 20th Century: From Modern Times to the era of Great Dictators

The Modern Times

Modern Times is a 1936 American part-talkie social comedy film written and directed by Charlie Chaplin in which his iconic Little Tramp character, his last performance as the character, struggles to survive in the modern, industrialized world. The movie stars Chaplin, Paulette Goddard, Henry Bergman, Tiny Sandford and Chester Conklin.

Charlie is a factory worker in this hectic age - a minor cog in the grinding wheels of industry. His job -mechanically tightening bolts on a moving belt. The monotony of the work drives him beserk. Taken to hospital he soon recovers and is discharged, cautioned to avoid excitement.

The Tramp works on an assembly line, where he suffers greatly due to the stress and pace of the repetitive work. He eventually suffers a nervous breakdown and runs amok, getting stuck within a machine and throwing the factory into chaos; he is then sent to the hospital. Following his recovery, the now unemployed Tramp is mistakenly arrested in a Communist demonstration.

The factory scene in "Modern Times"

The factory scene in "Modern Times" depicts Charlie Chaplin's character, the Tramp, working on an assembly line. It's a satire on the dehumanizing aspects of industrialization. Chaplin portrays the struggles of workers in a mechanized world, showcasing the relentless pace, repetitive tasks, and lack of concern for workers' well-being.

The scene symbolizes the loss of individuality in the modern industrial age, where people become mere cogs in a machine, highlighting the challenges and alienation faced by the working class. It's a commentary on the dehumanizing effects of mass production and the need for humane treatment of workers.

The Factory Owner's Behavior: The factory owner symbolizes dictatorial behavior with a lack of empathy for workers. His decisions focus solely on profit and efficiency, showcasing the callousness of those in power.

The Police and Authorities: Throughout the film, the authorities represent the oppressive nature of the system. The Tramp constantly finds himself at odds with the law, which serves the interests of the wealthy and powerful.

The protest Scene:

The factory workers' strike showcases the struggle for fair treatment and rights in the workplace. The response of the authorities, along with the factory owner's disdain for the workers' demands, underscores the power dynamics and lack of empathy toward the working class.

The Wealthy Party Scene: The party at the wealthy couple's house portrays the lavish lifestyle of the elite, contrasting sharply with the Tramp's struggles. It underscores the opulence and extravagance of the wealthy while emphasizing the stark poverty experienced by the common people during the Great Depression.

The Great Dictator

The Great Dictator is a 1940 American anti-war political satire black comedy film written, directed, produced, scored by, and starring British comedian Charlie Chaplin, following the tradition of many of his other films. Having been the only Hollywood filmmaker to continue to make silent films well into the period of sound films, Chaplin made this his first true sound film. 

On the Western Front in 1918, a Jewish soldier fighting for the Central Powers nation of Tomainia[8] valiantly saves the life of a wounded pilot, Commander Schultz, who carries valuable documents that could secure a Tomainian victory. However, after running out of fuel, their plane crashes into a tree and the soldier subsequently suffers memory loss. Upon being rescued, Schultz is informed that Tomainia has officially surrendered to the Allied Forces, while the Jewish soldier is carried off to a hospital.

Twenty years later, still suffering from amnesia, the Jewish soldier returns to his previous profession as a barber in a ghetto. The ghetto is now governed by Schultz who has been promoted in the Tomainian regime, which now transformed into a dictatorship under the ruthless Adenoid Hynkel.
One of the pivotal scenes in "The Great Dictator" that encapsulates the setting, dehumanization, and class difference is when the dictator Adenoid Hynkel (played by Charlie Chaplin) conducts a grand military parade in the streets of his fictional country, Tomainia. The extravagant display of power and authority by Hynkel amidst a highly regimented and controlled setting emphasizes the oppressive nature of his rule.

During this parade, Hynkel's totalitarian regime is on full display, with elaborate displays of military might and a sense of grandeur while the oppressed citizens, representing the lower class, are forced to cheer in fear and obedience. The stark contrast between the opulence of the ruling elite and the dehumanized, fearful masses in poverty-stricken conditions illustrates the vast class differences and the dehumanizing effect of the dictatorship. This scene effectively portrays the setting, the dehumanization of the populace, and the immense gap between the ruling class and the oppressed.

The Barber and the Globe: In a powerful and symbolic moment, the Jewish barber (also played by Chaplin), mistaken for the dictator Hynkel, delivers a heartfelt speech pleading for peace and understanding. This scene, set in the dictator's opulent office, contrasts the harsh reality of the oppressed masses outside with the lavish surroundings of the ruling class, highlighting the stark class differences. The speech also emphasizes the dehumanizing effects of war and hatred.

The Dance with the Globe: There's a famous sequence where Hynkel, representing Hitler, performs a grotesque and dehumanizing ballet with a globe, whimsically playing with countries and territories as if they were toys. This scene symbolizes the dictator's control and manipulation over the world, showcasing the disregard for the lives and struggles of ordinary people.

The Ghettos: There are glimpses of the ghetto where the Jewish barber lives. The dilapidated, impoverished surroundings and the fear of persecution within the ghetto serve as a representation of the dehumanization and oppression faced by minority groups under totalitarian regimes.

Each of these scenes contributes to illustrating the setting's contrast between opulence and poverty, the dehumanization of the oppressed, and the vast class differences prevalent in the society depicted in the film.