Roger Lewis

Charlie Chaplin, monster

A review of Peter Ackroyd’s Charlie Chaplin. His films may have been all sweetness and light – but Chaplin's ego had few limits

‘Less political satire than back-handed homage:Charlie Chaplin in a scene from The Great Dictator [Getty Images/Shutterstock/iStock/Alamy] 
issue 12 April 2014

No actual birth certificate for Charles Spencer Chaplin has ever been found. The actor himself drew a blank when he went on a rummage in Somerset House. The latest research suggests that he was born ‘in a gypsy caravan in Smethwick, near Birmingham’. But surely the truth has been staring people in the face ever since the Little Tramp first popped on the screen: Chaplin is the lost twin of Adolf Hitler.

Peter Ackroyd almost suggests as much. Both men first drew breath in April 1889. They had drunken fathers and nervous mothers. There were patterns of madness and illegitimacy in the family tree. They were short and sported an identical moustache. They had marked histrionic skills, each man ‘appealing to millions of people with an almost mesmeric magic’. They were despotic towards underlings — and Chaplin’s The Great Dictator is less political satire than back-handed homage. Hitler watched it at a private screening — twice.

Comments

Join the debate for just $5 for 3 months

Be part of the conversation with other Spectator readers by getting your first three months for $5.

Already a subscriber? Log in