| Photos (see all 24 | slideshow) |
| Sat. Aug. 2 | 9:30 PM | TCM |
| Charles Chaplin | ... | Adenoid Hynkel (Dictator of Tomania) / A Jewish Barber | |
| Paulette Goddard | ... | Hannah | |
| Jack Oakie | ... | Benzini Napaloni (Dictator of Bacteria) | |
| Reginald Gardiner | ... | Commander Schultz | |
| Henry Daniell | ... | Garbitsch | |
| Billy Gilbert | ... | Field Marshal Herring | |
| Grace Hayle | ... | Madame Napaloni | |
| Carter DeHaven | ... | Spook (Bacterian ambassador) (as Carter De Haven) | |
| Maurice Moscovitch | ... | Mr. Jaeckel | |
| Emma Dunn | ... | Mrs. Jaeckel | |
| Bernard Gorcey | ... | Mr. Mann | |
| Paul Weigel | ... | Mr. Agar | |
| Chester Conklin | ... | Barber's Customer | |
| Esther Michelson | ... | Jewish Woman | |
| Hank Mann | ... | Storm Trooper | |
| Florence Wright | ... | Blonde Secretary | |
| Eddie Gribbon | ... | Tomanian Storm Trooper | |
| Rudolph Anders | ... | Tomanian Commandant at Osterlich (as Robert O. Davis) | |
| Eddie Dunn | ... | Whitewashed Storm Trooper | |
| Nita Pike | ... | Secretary | |
| George Lynn | ... | Commander of Storm Troopers (as Peter Lynn) | |
| rest of cast listed alphabetically: | |||
| Fred Aldrich | ... | Soldier (uncredited) | |
| Richard Alexander | ... | Tomainian Prison Guard in 1918 (uncredited) | |
| William Arnold | ... | Tomanian officer (uncredited) | |
| Sig Arno | ... | Compact parachute inventor (uncredited) | |
| Joe Bordeaux | ... | Ghetto Extra (uncredited) | |
| Don Brodie | ... | Reporter from International Press (uncredited) | |
| Hans Conried | ... | Bit Role (uncredited) | |
| Gino Corrado | ... | Sculptor (uncredited) | |
| John Davidson | ... | Hospital superintendent (uncredited) | |
| Max Davidson | ... | Jewish man (uncredited) | |
| Lew Davis | ... | Hospital orderly (uncredited) | |
| Francis Ernest Drake | ... | Stormtrooper (uncredited) | |
| Wheeler Dryden | ... | Heinrich Schtick (translator) (uncredited) | |
| Pat Flaherty | ... | Friendly Storm Trooper (uncredited) | |
| Bud Geary | ... | Storm Trooper (uncredited) | |
| Sam Harris | ... | Officer (uncredited) | |
| Leyland Hodgson | ... | Big Bertha gunnery officer (uncredited) | |
| William Irving | ... | Man seated on bed (uncredited) | |
| Charles Irwin | ... | Banquet Butler (uncredited) | |
| Ethelreda Leopold | ... | Blonde secretary (uncredited) | |
| Torben Meyer | ... | Bald barbershop customer (uncredited) | |
| Jules Michelson | ... | Man in ghetto (uncredited) | |
| Bert Moorhouse | ... | Hynkel's staff officer (uncredited) | |
| Nellie V. Nichols | ... | Jewish woman (uncredited) | |
| Manuel París | ... | Dance Extra at Ball (uncredited) | |
| Jack Perrin | ... | Jewish man (uncredited) | |
| Lucien Prival | ... | Storm Trooper officer (uncredited) | |
| Cyril Ring | ... | Officer Extra (uncredited) | |
| Henry Roquemore | ... | Soldier (uncredited) | |
| Tiny Sandford | ... | Soldier in 1918 Tomainia (uncredited) | |
| Hans Schumm | ... | Soldier (uncredited) | |
| Harry Semels | ... | Jewish Fruit Stand Proprietor (uncredited) | |
| Charles Sullivan | ... | Prison Guard (uncredited) | |
| Carl Voss | ... | Officer (uncredited) | |
| Leo White | ... | Hynkel's barber (uncredited) | |
| Harry Wilson | ... | Soldier in Field (uncredited) | |
Directed by | |||
| Charles Chaplin | |||
Writing credits(in alphabetical order) | ||
| Charles Chaplin | writer | |
Produced by | |||
| Charles Chaplin | .... | producer | |
| Carter DeHaven | .... | associate producer (uncredited) | |
Original Music by | |||
| Meredith Willson | |||
| Charles Chaplin | (uncredited) | ||
Cinematography by | |||
| Karl Struss | |||
| Roland Totheroh | |||
Film Editing by | |||
| Willard Nico | |||
Art Direction by | |||
| J. Russell Spencer | |||
Set Decoration by | |||
| Edward G. Boyle | (uncredited) | ||
Makeup Department | |||
| Ed Voight | .... | makeup artist (uncredited) | |
Production Management | |||
| Alfred Reeves | .... | production manager (uncredited) | |
Second Unit Director or Assistant Director | |||
| Wheeler Dryden | .... | assistant director | |
| Dan James | .... | assistant director | |
| Bob Meltzer | .... | assistant director | |
| Alex Finlayson | .... | assistant director (uncredited) | |
Art Department | |||
| William Bogdanoff | .... | construction foreman (uncredited) | |
| Clem Widrig | .... | property master (uncredited) | |
Sound Department | |||
| Glenn Rominger | .... | sound | |
| Percy Townsend | .... | sound | |
Special Effects by | |||
| Jack Cosgrove | .... | special photographic effects (uncredited) | |
| Ralph Hammeras | .... | special photographic effects (uncredited) | |
Stunts | |||
| Buster Wiles | .... | stunts (uncredited) | |
Camera and Electrical Department | |||
| Frank Testera | .... | chief electrician (uncredited) | |
| William Wallace | .... | still photographer (uncredited) | |
Costume and Wardrobe Department | |||
| Wyn Ritchie | .... | costumer (uncredited) | |
| Ted Tetrick | .... | costume supervisor (uncredited) | |
Music Department | |||
| Meredith Willson | .... | musical director | |
| Al Kaye | .... | music librarian (uncredited) | |
| Meredith Willson | .... | conductor (uncredited) | |
Other crew | |||
| Henry Bergman | .... | production coordinator (uncredited) | |
| Kay Clement | .... | secretary (uncredited) | |
| Evelyn Earle | .... | script clerk (uncredited) | |
| Monroe Greenthal | .... | press representative (uncredited) | |
| Moody | .... | dailies projectionist (uncredited) | |
| Kathleen Pryor | .... | secretary (uncredited) | |
| Max Terr | .... | assistant: Mr. Willson (uncredited) | |
| Gene Testera | .... | filing clerk (uncredited) | |
| Carl Voss | .... | military advisor (uncredited) | |
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| Full cast and crew | Company credits | External reviews |
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Aside from giving this film its proper socio-historical credit as one of only 2 U.S films which condemned Hitler, Naziism and the Holocaust prior to U.S. involvement in WWII, it's a great time as well. Much of the humor remains visual, and some of the funniest (and most famous) scenes are done in the silent mode (e.g. the globe). Although a bit more lacking in continuity and editing than many of Chaplin's earlier films, to do it credit simply as a passable first effort at a new medium is to damn it with faint praise. It's unique. No serious student of film can neglect to see and appreciate The Great Dictator as a classic amalgam of film talents.