Every Hidden Detail of New York’s Classic Skyscrapers: The Chrysler, Empire State & Woolworth Buildings

in Architecture, History | March 24th, 2025

Cur­rent­ly, the tallest build­ings in New York City are One World Trade Cen­ter, Cen­tral Park Tow­er, and 111 West 57th Street. All of them were com­plet­ed in the twen­ty-twen­ties, and all of them have attract­ed com­ment, some­times admir­ing, some­times bewil­dered. But none of them, fair to say, yet exude the romance of the Wool­worth Build­ing, the Chrysler Build­ing, and the Empire State Build­ing, all of which opened before World War II, and each of which once had its day as the tallest build­ing in the world. Here to explain these endur­ing “big stars of the New York City sky­line” is archi­tec­tur­al his­to­ri­an Tony Robins, who in the half-hour video above tells the sto­ry of all their impor­tant details, inside and out.

In fact, this video comes as the pilot episode of “Obses­sion to Detail,” a new series from Dai­ly Mail Busi­ness YouTube chan­nel. The Mail may not come right to mind as a source of archi­tec­tur­al com­men­tary, but in this case, they’ve found the right man for the job.

He knows that the Wool­worth Build­ing’s lob­by con­tains gar­goyle-like car­i­ca­tures of its archi­tect and client; that the Chrysler Build­ing once had a pri­vate club on its 66th, 67th, and 68th floors whose bar had both a paint­ing of the New York sky­line and a view of the real thing; that the 86-sto­ry Empire State Build­ing is pro­mot­ed as hav­ing 102 sto­ries only by includ­ing its unused diri­gi­ble moor­ing mast and sub-base­ments; and that what we now call Art Deco was, in its day, referred to as “the ver­ti­cal style,” in ref­er­ence to the pro­por­tions its build­ings were rapid­ly gain­ing.

An expe­ri­enced New York tour guide, Robins would be remiss if he did­n’t tell you all these facts and many more besides. It’s pre­sum­ably also part of his job to frame the process­es that gave rise (or indeed, high rise) to these sky­scrap­ers as in keep­ing with the cease­less one-upman­ship and self-pro­mo­tion that is the spir­it of his city. A par­tic­u­lar­ly illus­tra­tive episode occurred when Minoru Yamasak­i’s orig­i­nal World Trade Cen­ter went up in the ear­ly sev­en­ties, which pro­voked a response from the Empire State Build­ing in the form of a rec­tan­gu­lar addi­tion on top that would pre­serve its sta­tus as the world’s tallest build­ing. Robins has been in the game long enough to have had the chance to ask the archi­tect who designed that pro­pos­al if he was seri­ous. “Of course not,” came the reply. “This was all for pub­lic rela­tions. This is New York. This is who we are. This is what we do.”

Relat­ed con­tent:

An Archi­tect Demys­ti­fies the Art Deco Design of the Icon­ic Chrysler Build­ing (1930)

The Sto­ry of the Flat­iron Build­ing, “New York’s Strangest Tow­er”

An Immer­sive, Archi­tec­tur­al Tour of New York City’s Icon­ic Grand Cen­tral Ter­mi­nal

Watch the Build­ing of the Empire State Build­ing in Col­or: The Cre­ation of the Icon­ic 1930s Sky­scraper From Start to Fin­ish

New York’s Lost Sky­scraper: The Rise and Fall of the Singer Tow­er

How the World Trade Cen­ter Was Rebuilt: A Visu­al Explo­ration of a 20-Year Project

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

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An Introduction to The Garden of Earthly Delights & Hieronymus Bosch’s Wildly Creative Vision

in Art, History | March 19th, 2025

Hierony­mus Bosch’s mas­ter­piece of grotes­querie, The Gar­den of Earth­ly Delights, con­tains a young God, Adam and Eve, over­sized fruits and musi­cal instru­ments, owls, tor­tured sin­ners, some­thing called a “tree man” whose body con­tains an entire tav­ern, a defe­cat­ing avian dev­il eat­ing a human being, and “frol­ick­ing, obliv­i­ous fig­ures engaged in all sorts of car­nal plea­sures,” as art his­to­ri­an Beth Har­ris puts it in the new Smarthis­to­ry video above. Through­out its fif­teen min­utes, she and her col­league Steven Zuck­er explain as much as pos­si­ble of this jam-packed trip­tych — not that even a life­time would be long enough to under­stand it ful­ly.

“Bosch con­founds our abil­i­ty to even talk about what we see,” says Har­ris. “His imag­i­na­tion has run wild. He’s just invent­ed so many things here that we could nev­er even have thought about in our wildest imag­i­na­tions.” Zuck­er cites one art-his­to­ry the­o­ry that this trip­tych rep­re­sents Bosch’s attempt to “ele­vate the visu­al arts to the lev­el of cre­ativ­i­ty that was per­mit­ted in lit­er­a­ture.”

Even in Bosch’s late fif­teenth and ear­ly six­teenth cen­turies, writ­ers had an envi­ably free hand in choos­ing and pre­sent­ing their sub­ject mat­ter; because the direct­ly rep­re­sen­ta­tive form of paint­ing, by con­trast, “had always been at the ser­vice of reli­gion, it was inher­ent­ly more con­ser­v­a­tive.”

It’s entire­ly pos­si­ble — and oth­er analy­ses pre­vi­ous­ly fea­tured here at Open Cul­ture have argued it – that Bosch, too, was work­ing at the ser­vice of reli­gion. But it could also be that The Gar­den of Earth­ly Delights, in its vast mid­dle pan­el, tells “an alter­nate sto­ry,” as Zuck­er puts it. “What if the temp­ta­tion had not tak­en place? What if Adam and Eve had remained inno­cent, and had pop­u­lat­ed the world? And so, is it pos­si­ble that what we’re see­ing is that real­i­ty, played out in Bosch’s imag­i­na­tion?” Not that such a vision would have read­i­ly been accept­ed in the artist’s own time and place — nor that his inten­tions alone could lead us to a com­plete inter­pre­ta­tion of his work. As any nov­el­ist knows, some­times your char­ac­ters sim­ply take over, and it could hard­ly have been with­in even Bosch’s pow­ers to deny the desires of a cast so teem­ing and bizarre.

Relat­ed con­tent:

The Mean­ing of Hierony­mus Bosch’s The Gar­den of Earth­ly Delights Explained

Take a Vir­tu­al Tour of Hierony­mus Bosch’s Bewil­der­ing Mas­ter­piece The Gar­den of Earth­ly Delights

Hierony­mus Bosch’s Medieval Paint­ing, “The Gar­den of Earth­ly Delights,” Comes to Life in a Gigan­tic, Mod­ern Ani­ma­tion

The Mean­ing of Hierony­mus Bosch’s Spell­bind­ing Trip­tych The Gar­den of Earth­ly Delights

The Musi­cal Instru­ments in Hierony­mus Bosch’s The Gar­den of Earth­ly Delights Get Brought to Life, and It Turns Out That They Sound “Painful” and “Hor­ri­ble”

A Dig­i­tal Archive of Hierony­mus Bosch’s Com­plete Works: Zoom In & Explore His Sur­re­al Art

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

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NYU Professor Answers Your Burning Questions About Authoritarianism

in Current Affairs, History | March 19th, 2025

From WIRED comes this: NYU pro­fes­sor and “author­i­tar­i­an­ism schol­ar Ruth Ben-Ghi­at joins WIRED to answer the inter­net’s burn­ing ques­tions about dic­ta­tors and fas­cism. Why do peo­ple sup­port dic­ta­tors? How do dic­ta­tors come to pow­er? What’s the dif­fer­ence between a dic­ta­tor­ship, an autoc­ra­cy, and author­i­tar­i­an­ism? What are the most com­mon per­son­al­i­ty traits found in tyrants and dic­ta­tors? Is Xi Jin­ping a dic­ta­tor? How do dic­ta­tors amass wealth? Pro­fes­sor Ben-Ghi­at answers these ques­tions and many more on Tech Sup­port: Dic­ta­tor Sup­port.” Watch the video above and pick up a copy of Ben-Ghi­at’s time­ly, best­selling book: Strong­men: Mus­soli­ni to the Present.

Relat­ed Con­tent 

Are You a Fas­cist?: Take Theodor Adorno’s Author­i­tar­i­an Per­son­al­i­ty Test Cre­at­ed to Com­bat Fas­cism (1947)

Han­nah Arendt Explains Why Democ­ra­cies Need to Safe­guard the Free Press & Truth … to Defend Them­selves Against Dic­ta­tors and Their Lies

Umber­to Eco’s List of the 14 Com­mon Fea­tures of Fas­cism

20 Lessons from the 20th Cen­tu­ry About How to Defend Democ­ra­cy from Author­i­tar­i­an­ism, Accord­ing to Yale His­to­ri­an Tim­o­thy Sny­der

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A Tour of Ancient Rome’s Best Graffiti: “We Have Urinated in Our Beds … There Was No Chamber Pot” & More

in History, Writing | March 17th, 2025

Apart from the likes of bra­vo and piz­za, graf­fi­ti must be one of the first Ital­ian words that Eng­lish-speak­ers learn in every­day life. As for why the Eng­lish word comes direct­ly from the Ital­ian, per­haps it has some­thing to do with the his­to­ry of writ­ing on the walls — a his­to­ry that, in West­ern civ­i­liza­tion, stretch­es at least as far back as the time of the Roman Empire. The Fire of Learn­ing video above offers a selec­tion of trans­lat­ed pieces of the more than 11,000 pieces of ancient Roman graf­fi­ti found etched into the pre­served walls of Pom­peii: “Mar­cus loves Spe­dusa”; “Phileros is a eunuch”; “Secun­dus took a crap here” (writ­ten three times); “Atime­tus got me preg­nant”; and “On April 19th, I made bread.”

Crude though some of these may sound, the nar­ra­tor empha­sizes that “many, many of the promi­nent pieces of graf­fi­ti, espe­cial­ly in Pom­peii, are too sex­u­al or vio­lent to show here,” com­par­ing their sen­si­bil­i­ty to that of “a high-school bath­room stall.” You can read more of them at The Ancient Graf­fi­ti Project, whose archive is brows­able through cat­e­gories like “love,” “poet­ry,” “food,” and “glad­i­a­tors” (as decent a sum­ma­ry as any of life in ancient Rome).

Romans did­n’t just write on the walls — a prac­tice that seems to have been encour­aged, at least in some places — they also drew on them, as evi­denced by what you can see in the fig­ur­al graf­fi­ti sec­tion, as well as the exam­ples in the video.

Anoth­er rich archive of ancient graf­fi­ti comes from a sur­pris­ing loca­tion: the Egypt­ian pyra­mids, then as now a major tourist attrac­tion. Rather than post­ing their reviews of the attrac­tion on the inter­net, in our twen­ty-first-cen­tu­ry man­ner, ancient Roman tourists wrote direct­ly on its sur­face. “I vis­it­ed and did not like any­thing except the sar­coph­a­gus,” says one inscrip­tion; “I can not read the hiero­glyph­ics,” com­plains anoth­er, in a man­ner that may sound awful­ly famil­iar these mil­len­nia lat­er. “We have uri­nat­ed in our beds,” declares anoth­er piece of writ­ing, dis­cov­ered on the door of a Pom­peii inn. “Host, I admit we should not have done this. If you ask why? There was no cham­ber pot.” Con­sid­er it con­firmed: the ancient world, too, had Airbnb guests.

Relat­ed con­tent:

High-Tech Analy­sis of Ancient Scroll Reveals Plato’s Bur­ial Site and Final Hours

Demys­ti­fy­ing the Activist Graf­fi­ti Art of Kei­th Har­ing: A Video Essay

Archae­ol­o­gists Dis­cov­er an Ancient Roman Snack Bar in the Ruins of Pom­peii

Tour the World’s Street Art with Google Street Art

Big Bang Big Boom: Graf­fi­ti Stop-Motion Ani­ma­tion Cre­ative­ly Depicts the Evo­lu­tion of Life

The Only Writ­ten Eye-Wit­ness Account of Pompeii’s Destruc­tion: Hear Pliny the Younger’s Let­ters on the Mount Vesu­vius Erup­tion

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

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The Ancient Greeks Who Converted to Buddhism

in History, Religion | March 14th, 2025

It would hard­ly be notable to make the acquain­tance of a Greek Bud­dhist today. Despite hav­ing orig­i­nat­ed in Asia, that reli­gion — or phi­los­o­phy, or way of life, or what­ev­er you pre­fer to call it — now has adher­ents all over the world. Mod­ern-day Bud­dhists need not make an ardu­ous jour­ney in order to under­take an even more ardu­ous course of study under a rec­og­nized mas­ter; nor are the forms of Bud­dhism they prac­tice always rec­og­niz­able to the lay­man. What’s more sur­pris­ing is that the trans­plan­ta­tion into and hybridiza­tion with oth­er cul­tures that has brought about so many nov­el strains of Bud­dhism was going on even in the ancient world.

Take, for exam­ple, the “Gre­co-Bud­dhism” described in the Reli­gion for Break­fast video above, the sto­ry of which involves a vari­ety of fas­ci­nat­ing fig­ures both uni­ver­sal­ly known and rel­a­tive­ly obscure. The most famous of all of them would be Alexan­der the Great, who, as host Andrew Hen­ry puts it, “con­quered a mas­sive empire stretch­ing from Greece across cen­tral Asia all the way to the Indus Riv­er, Hel­l­eniz­ing the pop­u­la­tions along the way.”

But “the cul­tur­al exchange did­n’t just go one way,” as evi­denced by the still-new Bud­dhist reli­gion also spread­ing in the oth­er direc­tion, illus­trat­ed by pieces of text and works of art clear­ly shaped by both civ­i­liza­tion­al cur­rents.

Oth­er major play­ers in Gre­co-Bud­dhism include the philoso­pher Pyrrho of Elis, who trav­eled with Alexan­der and took ideas of the sus­pen­sion of judg­ment from Indi­a’s “gym­nosophists”; Ashoka, emper­or of the Indi­an sub­con­ti­nent in the third cen­tu­ry BC, an avowed Bud­dhist who renounced vio­lence for com­pas­sion (and pros­e­ly­ti­za­tion); and King Menan­der, “the most famous Greek who con­vert­ed to Bud­dhism,” who appears as a char­ac­ter in an ear­ly Bud­dhist text. It can still be dif­fi­cult to say for sure exact­ly who believed what in that peri­od, but it’s not hard to iden­ti­fy res­o­nances between Bud­dhist prin­ci­ples, broad­ly speak­ing, and those of such wide­ly known ancient Greek schools of thought as Sto­icism. Both of those belief sys­tems now hap­pen to have a good deal of cur­ren­cy in Sil­i­con Val­ley, though what lega­cy they’ll leave to be dis­cov­ered in its ruins a cou­ple mil­len­nia from now remains to be seen.


Relat­ed con­tent:

Take Harvard’s Intro­duc­to­ry Course on Bud­dhism, One of Five World Reli­gions Class­es Offered Free Online

Learn the His­to­ry of Indi­an Phi­los­o­phy in a 62 Episode Series from The His­to­ry of Phi­los­o­phy With­out Any Gaps: The Bud­dha, Bha­gavad-Gita, Non Vio­lence & More

One of the Old­est Bud­dhist Man­u­scripts Has Been Dig­i­tized & Put Online: Explore the Gand­hara Scroll

Breath­tak­ing­ly Detailed Tibetan Book Print­ed 40 Years Before the Guten­berg Bible

Dis­cov­er the World’s Old­est Uni­ver­si­ty, Which Opened in 427 CE, Housed 9 Mil­lion Man­u­scripts, and Then Edu­cat­ed Stu­dents for 800 Years

Con­cepts of the Hero in Greek Civ­i­liza­tion (A Free Har­vard Course)

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

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Watch the Only Time Charlie Chaplin & Buster Keaton Performed Together On-Screen (1952)

in Film, History | March 13th, 2025

Char­lie Chap­lin and Buster Keaton were the two biggest com­e­dy stars of the silent era, but as it hap­pened, they nev­er shared the screen until well into the reign of sound. In fact, their col­lab­o­ra­tion did­n’t come about until 1952, the same year that Sin­gin’ in the Rain dra­ma­tized the already dis­tant-feel­ing advent of talk­ing pic­tures. That hit musi­cal deals with once-famous artists cop­ing with a chang­ing world, and so, in its own way, does Lime­light, the film that final­ly brought Chap­lin and Keaton togeth­er, deal­ing as it does with a washed-up music-hall star in the Lon­don of 1914.

A spe­cial­ist in down­trod­den pro­tag­o­nists, Chap­lin — who hap­pened to have made his own tran­si­tion from vaude­ville to motion pic­tures in 1914 — nat­u­ral­ly plays that star­ring role. Keaton appears only late in the film, as an old part­ner of Chap­lin’s char­ac­ter who takes the stage with him to per­form a duet at a ben­e­fit con­cert that promis­es the sal­va­tion of their careers. In real­i­ty, this scene had some of that same appeal for Keaton him­self, who had yet to recov­er finan­cial­ly or pro­fes­sion­al­ly after a ruinous divorce in the mid-nine­teen-thir­ties, and had been strug­gling for trac­tion on the new medi­um of tele­vi­sion.

Though Lime­light may be a sound film, and Chap­lin and Keaton’s scene may be a musi­cal num­ber, what they exe­cute togeth­er is, for all intents and pur­pos­es, a work of silent com­e­dy. Chap­lin plays the vio­lin and Keaton plays the piano, but before either of them can get a note out of their instru­ments, they must first deal with a series of tech­ni­cal mishaps and wardrobe mal­func­tions. This is in keep­ing with a theme both per­form­ers essayed over and over again in their silent hey­day: that of the human being made inept by the com­pli­ca­tions of an inhu­man world.

But of course, Chap­lin and Keaton’s char­ac­ters usu­al­ly found their ways to tri­umph at least tem­porar­i­ly over that world in the end, and so it comes to pass in Lime­light — moments before the hap­less vio­lin­ist him­self pass­es on, the vic­tim of an onstage heart attack. In the real world, both of these two icons from a bygone age had at least anoth­er act ahead of them, Chap­lin with more films to direct back in his native Eng­land and Europe, and Keaton as a kind of liv­ing leg­end for hire, called up when­ev­er Hol­ly­wood need­ed a shot of what had been redis­cov­ered — not least thanks to TV’s re-cir­cu­la­tion of old movies — as the mag­ic of silent pic­tures.

Relat­ed con­tent:

Char­lie Chap­lin & Buster Keaton Go Toe to Toe (Almost) in a Hilar­i­ous Box­ing Scene Mash Up from Their Clas­sic Silent Films

Dis­cov­er the Cin­e­mat­ic & Comedic Genius of Char­lie Chap­lin with 60+ Free Movies Online

A Super­cut of Buster Keaton’s Most Amaz­ing Stunts

When Char­lie Chap­lin First Spoke Onscreen: How His Famous Great Dic­ta­tor Speech Came About

30 Buster Keaton Films: “The Great­est of All Com­ic Actors,” “One of the Great­est Film­mak­ers of All Time”

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

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When Salvador Dalí Created a Chilling Anti-Venereal Disease Poster During World War II

in Art, History, Life | March 12th, 2025

As a New York City sub­way rid­er, I am con­stant­ly exposed to pub­lic health posters. More often than not these fea­ture a pho­to of a whole­some-look­ing teen whose sober expres­sion is meant to con­vey hind­sight regret at hav­ing tak­en up drugs, dropped out of school, or for­gone con­doms. They’re well-intend­ed, but bor­ing. I can’t imag­ine I’d feel dif­fer­ent­ly were I a mem­ber of the tar­get demo­graph­ic. The Chelsea Mini Stor­age ads’ saucy region­al humor is far more enter­tain­ing, as is the train wreck design approach favored by the ubiq­ui­tous Dr. Jonathan Ziz­mor. 

Pub­lic health posters were able to con­vey their des­ig­nat­ed hor­rors far more mem­o­rably before pho­tos became the graph­i­cal norm. Take Sal­vador Dalí’s sketch (below) and final con­tri­bu­tion (top) to the WWII-era anti-vene­re­al dis­ease cam­paign.

Which image would cause you to steer clear of the red light dis­trict, were you a young sol­dier on the make?

A por­trait of a glum fel­low sol­dier (“If I’d only known then…”)?

Or a grin­ning green death’s head, whose chop­pers dou­ble as the frankly exposed thighs of two face­less, loose-breast­ed ladies?

Cre­at­ed in 1941, Dalí’s night­mare vision eschewed the sort of man­ly, mil­i­taris­tic slo­gan that retroac­tive­ly ramps up the kitsch val­ue of its ilk. Its mes­sage is clear enough with­out:

Stick it in—we’ll bite it off!

(Thanks to blog­ger Rebec­ca M. Ben­der for point­ing out the composition’s resem­blance to the vagi­na den­ta­ta.)

As a fem­i­nist, I’m not crazy about depic­tions of women as pesti­len­tial, one-way death­traps, but I con­cede that, in this instance, sub­vert­ing the girlie pin up’s explic­it­ly phys­i­cal plea­sures might well have had the desired effect on horny enlist­ed men.

A decade lat­er Dalí would col­lab­o­rate with pho­tog­ra­ph­er Philippe Hals­man on “In Volup­tas Mors,” stack­ing sev­en nude mod­els like cheer­lead­ers to form a peace­time skull that’s far less threat­en­ing to the male fig­ure in the low­er left cor­ner (in this instance, the very dap­per Dalí him­self).

Note: An ear­li­er ver­sion of this post appeared on our site in 2014.

Relat­ed Con­tent: 

What Makes Sal­vador Dalí’s Icon­ic Sur­re­al­ist Paint­ing “The Per­sis­tence of Mem­o­ry” a Great Work of Art

When Sal­vador Dali Met Sig­mund Freud, and Changed Freud’s Mind About Sur­re­al­ism (1938)

When The Sur­re­al­ists Expelled Sal­vador Dalí for “the Glo­ri­fi­ca­tion of Hit­ler­ian Fas­cism” (1934)

Des­ti­no: The Sal­vador Dalí — Walt Dis­ney Ani­ma­tion That Took 57 Years to Com­plete

Ayun Hal­l­i­day is an author, home­school­er, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.

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When Charlie Chaplin First Spoke Onscreen: How His Famous Great Dictator Speech Came About

in Film, History | March 11th, 2025

Char­lie Chap­lin came up in vaude­ville, but it was silent film that made him the most famous man in the world. His mas­tery of that form primed him to feel a degree of skep­ti­cism about sound when it came along: in 1931, he called the silent pic­ture “a uni­ver­sal means of expres­sion,” where­as the talkies, as they were then known, “nec­es­sar­i­ly have a lim­it­ed field.” Nev­er­the­less, he was too astute a read­er of pub­lic tastes to believe he could stay silent for­ev­er, though he only began to speak onscreen on his own terms — lit­er­al­ly, in the case of Mod­ern Times. In that cel­e­brat­ed film, his icon­ic char­ac­ter the Tramp sings a song, but does so in an unin­tel­li­gi­ble hash of cod French and Ital­ian, and yet still some­how gets his mean­ing across, just as he had in all his silent movies before.

That scene appears in the Cin­e­maS­tix video essay above on “the moment the most famous silent come­di­an opens his mouth,” which comes not in Mod­ern Times but The Great Dic­ta­tor, Chap­lin’s 1940 send-up of the then-ascen­dant Adolf Hitler. In it, Chap­lin plays two roles: the nar­row-mus­ta­chioed Hitler par­o­dy Ade­noid Hynkel who “speaks” in a tonal­ly and rhyth­mi­cal­ly con­vinc­ing ersatz Ger­man, and a Tramp-like Jew­ish Bar­ber interned by Hynkel’s regime whose only lines come at the film’s very end.

Dressed as the dic­ta­tor in order to escape the camp, the Bar­ber sud­den­ly finds him­self giv­ing a speech at a vic­to­ry parade. When he speaks, he famous­ly does so in Chap­lin’s nat­ur­al voice, express­ing sen­ti­ments that sound like Chap­lin’s own: inveigh­ing against “machine men with machine minds,” mak­ing a plea for lib­er­ty, broth­er­hood, and good­will toward men.

Though it may have been Chap­lin’s biggest box-office hit, The Great Dic­ta­tor isn’t his most crit­i­cal­ly acclaimed pic­ture. When it was made, the Unit­ed States had yet to enter the war, and the full nature of what the Nazis were doing in Europe had­n’t yet come to light. This film’s rela­tion­ship with actu­al his­tor­i­cal events thus feels uneasy, as if Chap­lin him­self was­n’t sure how light or heavy a tone to strike. Even his cli­mac­tic speech was only cre­at­ed as a replace­ment for an intend­ed final dance sequence, though he did work at it, writ­ing and revis­ing over a peri­od of months. It’s more than a lit­tle iron­ic that The Great Dic­ta­tor is main­ly remem­bered for a scene in which a com­ic genius to whom words were noth­ing as against image and move­ment for­goes all the tech­niques that made him a star — and indeed, for­goes com­e­dy itself.

Relat­ed con­tent:

Char­lie Chaplin’s Final Speech in The Great Dic­ta­tor: A State­ment Against Greed, Hate, Intol­er­ance & Fas­cism (1940)

Char­lie Chap­lin Finds Com­e­dy Even in the Bru­tal­i­ty of WWI: A Scene from Shoul­der Arms (1918)

The Char­lie Chap­lin Archive Opens, Putting Online 30,000 Pho­tos & Doc­u­ments from the Life of the Icon­ic Film Star

How Char­lie Chap­lin Used Ground­break­ing Visu­al Effects to Shoot the Death-Defy­ing Roller Skate Scene in Mod­ern Times (1936)

Char­lie Chap­lin & Buster Keaton Go Toe to Toe (Almost) in a Hilar­i­ous Box­ing Scene Mash Up from Their Clas­sic Silent Films

Dis­cov­er the Cin­e­mat­ic & Comedic Genius of Char­lie Chap­lin with 60+ Free Movies Online

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

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