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Show "The Great Dictator" Brings Chaplin To Rivoli This Week-End In the three-ring circus that Charlie Chaplin brings to the screen in "The Great Dictator," there are many events that would constitute news in any language. Charlie has wandered far and looked deep into the heart for his laughter. Where he got the Oceana Roll in "The Gold Rush," the pantomimed pan-tomimed David and Goliath sermon ser-mon in "The Pilgrim" or the corn-feeding corn-feeding ordeal in "Modern Times," no one knows. They have the smell and the favor of humankind. In the long catalogue of surprises and comedy inventions of "The Great Dictator," Chaplin perpetrates perpe-trates a masterful travesty on an easily recognized ruler. But more than that, it is Chaplin, the timid little man, looking at power, warily eyeing the big shot. It is the ancient an-cient privilege of clowns. The beloved little figure with his derby, his tiny moustache, his floppy flop-py trousers and elongated shoes (all somewhat modified for the sake of realism in "The Great Dictator") Dic-tator") has been a pioneer, a creator cre-ator and an inventor. He still is in the new story he tells on the screen, Charlie is the quiet little man who wants to be left alone in the ghetto. In his barber shop, he strives almost pathetically to please. He speaks, but in the frightened monosyllables. He just wants to be left alone. And then he is Hynkel, the raging, rag-ing, neurotic dictator. He raves and rants and emits the most violent vio-lent of guttural explosives. These gutturals, incidentally, will speak a new language part English, part jargon, something of a development de-velopment from the double talk French music hall Chanson sung by Charlie in "Modern Times." The inherent absurdity of pomp and circumstances (the core, in varying degrees, of all Chaplin humor) hu-mor) reaches its fullest and most natural expansion in the scenes between the dictator Hynkel and his nearest rival, rNapaiom, piayea with bettling brow and out-thrust jaw by Signor Jack Oakie. "The Great Dictator" is Charlie all over the place. It is Charles Chaplin the one-man production Chaplin the producer, Chaplin the director, Chaplin the star, Chaplin Chap-lin the composer. The film bears the unmistakable imprint of hisj individual genius. But despite this, there has never been a picture so varied in its moods and so diversified diver-sified in its setting. Never has a picture projected so much that is new and unexpected (even in the used of the sound and dialogue which Chaplin has always disdained). dis-dained). But, above everything else, it is Charlie, the little man, laughing at his fellow man-laughing man-laughing long, loud, and hearty. |