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The opening scenes represent Chaplin as a willing but clumsy private in a defeated army - the date is November 1918. His adventures end with an aeroplane crash which leaves him robbed of memory, and he returns, not to the little barber's shop which he owned before the war, but to an asylum. The world outside passes from convulsion to convulsion until there emerges the dictatorship of Hynkel, who bears a remarkable facial resemblance to the unhappy ex-barber. One day the ex-barber escapes from the asylum and returns in a Rip van Winkle manner to his empty shop. He starts to wipe the scrawled word "Jew" from his window and at once falls foul of a gang of Hynkel's followers. Meanwhile Hynkel is planning the invasion of "Osterlich" and, requiring funds for munitions, decides to countermand Jew-baiting and approach a rich Jewish banker for a loan. For a short time the Jews enjoy a respite. The banker firmly refuses to lend money for such an object and Hynkel, in fury, orders intensified persecution, and the barber goes to a concentration camp. Meanwhile complications arise through the action of Napaloni, dictator of a neighbouring State. He too is planning to invade Osterlich and Hynkel, in high displeasure, summons him to a private conference. Publicly their meeting is a gala, privately a brawl. Hynkel's troops invade Osterlich and the barber, who has broken out from the prison camp, is mistaken for the Dictator and rides in state through the land, eventually finding himself led on to a lofty platform from which Hynkel is expected to address the assembled troops. But instead, of continuing his unsought-for impersonation of Hynkel the little barber launches forth into a passionate denunciation of tyranny and greed. At first the crowd listen in puzzled silence. Then, as the truth of his message sinks into their hearts, they start to cheer him thunderously and the film ends.

The many subsidiary episodes - each a pure gem of imaginative creation — which have been grouped round the central theme, tend to obscure the general outline of the film, but in spite of its shortcomings as a work of art The Great Dictator, through Chaplin's prestige and personal magic, raises the cinema to a new level as a force in World Affairs. While the film runs, the tide of Chaplin's genius carries all before it in alternate waves of humour and pathos. As always, Chaplin has excelled in the selection and direction of his cast, so that it is not easy to pick on any individual performance as outstanding where the general level is so high. Paulette Goddard as the working-class Jewish girl in love with the barber contributes a charming and spirited performance, and Jack Oakie as Napaloni acts with delightful spontaneity.

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