{"id":13994,"date":"2026-07-21T09:35:52","date_gmt":"2026-07-21T09:35:52","guid":{"rendered":"https:\/\/culturalleft.org\/cl\/2026\/07\/21\/frames-of-resistance-looking-at-films-against-fascism-reviews-culture-socialist-worker\/"},"modified":"2026-07-21T09:35:52","modified_gmt":"2026-07-21T09:35:52","slug":"frames-of-resistance-looking-at-films-against-fascism-reviews-culture-socialist-worker","status":"publish","type":"post","link":"https:\/\/culturalleft.org\/cl\/2026\/07\/21\/frames-of-resistance-looking-at-films-against-fascism-reviews-culture-socialist-worker\/","title":{"rendered":"Frames of resistance\u2014looking at films against fascism Reviews & Culture – Socialist Worker"},"content":{"rendered":"
\"Charlie\n

Charlie Chaplin uses humour to show the horrors of Hitler\u2019s Germany in The Great Dictator (Photo: WikipediaCommons)<\/p>\n<\/div>\n

The Great Dictator, 1940<\/h5>\n

The Great Dictator was banned in Germany and Nazi-occupied \u00adcountries when it was released in 1940, which is unsurprising given its direct mockery of Adolf Hitler.<\/p>\n

Charlie Chaplin was even warned that it might face \u00addifficulties in Britain and US, but he remained \u00adcommitted to making the film because he believed its message was important.<\/p>\n

He was right\u2014the film became a major commercial success and the second highest-grossing film in the US in 1941.<\/p>\n

Beyond its \u00adsuccess as a comedy, the film stands out for its \u00adremarkably accurate \u00adportrayal of Hitler\u2019s personality and authoritarianism.<\/p>\n

Chaplin was openly opposed to the Nazis and actively \u00adsupported Jewish refugees, making this his most overtly political work.<\/p>\n

Through the parallel stories of a persecuted Jewish barber and the dictator, Chaplin ensured \u00adaudiences never lost sight of both the victims and the source of the oppression.<\/p>\n

The Great Dictator uses humour to expose the \u00adatrocities of Nazism and ends in a Brechtian way with no neat resolution. The speech scene comprised long, \u00aduninterrupted camera shots. Chaplin made the film as anti\u2011fascist propaganda.<\/p>\n

Some critics have argued that the film trivialised Nazi \u00adatrocities. And Chaplin later a\u00adcknowledged that he could not have made the same film had he known the full horrors of the \u00adconcentration camps.<\/p>\n

Chaplin wanted audiences to see the Nazis as a threat to \u00adhumanity. Given his enormous popularity and influence, he was uniquely positioned to do that.<\/p>\n

\n
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\n \"The <\/a>\n <\/div>\n
The real liberators of Italy<\/a><\/div>\n
\u00a0<\/span> Read More<\/a><\/div>\n<\/div>\n<\/div>\n<\/h5>\n
The Four Days of Naples, 1962<\/h5>\n

This is a neglected masterpiece. It stands in the tradition of Italian neorealism, with Roberto Rossellini\u2019s Rome Open City and Paisan before, and Pontecorvo\u2019s iconic The Battle of Algiers<\/a> after.<\/p>\n

The film was shot on \u00adlocation in the streets of Naples with \u00adnon\u2011professional actors bringing working class authenticity to the screen. The film\u2019s producers emphatically stated that the \u201cstars\u201d of the film are \u201cthe people of Naples\u201d. The film was a tribute to them and to those who died fighting.<\/p>\n

Faithful to neorealism, \u00addirector Nanni Loy\u2019s tribute to the \u00adresistance in Naples \u00adreconstructs the urban warfare with rare authenticity and tension.<\/p>\n

This is done with impressive low-angle shots as well as deep focus long shots.<\/p>\n

As Loy avoids recourse to rapid cuts, he also minimises the \u00adpresence of film icons such as Lea Massari and Gian Maria Volont\u00e9. The professional cast of actors agreed to omit their names from the film\u2019s credits.<\/p>\n

One of the greatest myths about the Second World War is that Allied armies liberated Europe from Nazism on their own. The truth is that ordinary working class people did it.<\/p>\n

Naples was the first to rise up against German control, with four days of street battles forcing the occupiers out as the Allies arrived on the mainland in September 1943.<\/p>\n

11 year old partisan Gennaro Capuozzo was killed fighting against the Nazis. He was taking part in the successful four-day insurrection in the city against Nazi occupation and was killed while throwing hand grenades at German tanks.<\/p>\n

This is an inspiring story. A largely inexperienced movement took on vastly superior military and economic forces and fought them to a standstill.<\/p>\n

\n
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\n \"Versus\u2014The <\/a>\n <\/div>\n
Versus\u2014The life and films of Ken Loach<\/a><\/div>\n
\u00a0<\/span> Read More<\/a><\/div>\n<\/div>\n<\/div>\n<\/h5>\n
Land and Freedom, 1995<\/h5>\n

The memory of the Spanish Civil War is an important part of the anti-fascist tradition in Britain.<\/p>\n

Hundreds of British \u00adworkers went to fight in Spain against \u00adfascism. At the same time the British state had a rotten record, unofficially supporting<\/p>\n

Francisco Franco and pushing the \u00adhypocritical sham of international non-intervention.<\/p>\n

In Land and Freedom, the Liverpudlian David Carr goes to fight against Franco. Rather than joining the Stalinist International Brigade, he enlists with Trotskyist splinter group, the POUM.<\/p>\n

For Ken Loach, a director of \u00adconsiderable international stature with three decades of \u00adfilmmaking behind him, not to be able to raise a few million dollars for this project speaks volumes. This was at a time when the average Hollywood \u00adproduction costs upwards of $30-40 \u00admillion. Financial constraints meant that Loach had to scrap \u00adseveral \u00adcrucial scenes. Important events are referred to or described rather than shown.<\/p>\n

The attacks by the Communist Party on the \u00adrevolutionary left was a story that hadn\u2019t been told in films. The left\u2019s resistance to the \u00adfascists had been told by George Orwell in his \u00admemoire Homage to Catalonia.<\/p>\n

Land and Freedom, says that the status quo is never \u00adinevitable, and that the working class is capable of \u00aduplifting and liberating itself.<\/p>\n

\n
\n
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\n \"The <\/a>\n <\/div>\n
Everybody to Kenmure Street: the street that would not be divided<\/a><\/div>\n
\u00a0<\/span> Read More<\/a><\/div>\n<\/div>\n<\/div>\n<\/h5>\n
Everybody to Kenmure Street, 2026<\/h5>\n

This is the story of the \u00adspontaneous community protest that took place in Glasgow in 2021. Thousands of people gathered to prevent the detention and removal of two Sikh men by Immigration Enforcement.<\/p>\n

What began with a small group of neighbours quickly grew into a mass act of civil resistance, ultimately leading to the men\u2019s release.<\/p>\n

The documentary highlights how ordinary people came together because they believed the action being taken was wrong. While the protest itself was \u00adsignificant, the \u00addocumentary also emphasises that it was built on years of anti-racism and \u00adcommunity organising rather than being an isolated event.<\/p>\n

More broadly, the \u00addocumentary explores Glasgow\u2019s \u00adcomplex \u00adhistory, including both its \u00adtraditions of solidarity, trade unionism, and anti-racist activism, as well as its links to slavery and exploitation.<\/p>\n

A key theme is the power of c\u00adollective action. The \u00addocumentary shows how ordinary people can challenge injustice and create meaningful change.<\/p>\n

\n

These films span 86 years. But they share something essential\u2014they show the working class as the agent of change. Films like these are not just entertainment. They build confidence for our class because they are the memory of our class.<\/p>\n

Fascists have no art and have no culture. They have nothing because they represent the
\nnegation of humanity and human creativity. Culture belongs to us.<\/p>\n

These films remind us that we won. Against Nazism, against the occupiers of Naples, against Franco. We fought\u2014and we won. And we will win again.<\/p>\n

Read More<\/a><\/p>","protected":false},"excerpt":{"rendered":"

Charlie Chaplin uses humour to show the horrors of Hitler\u2019s Germany in The Great Dictator (Photo: WikipediaCommons) The Great Dictator, 1940 The Great Dictator was banned in Germany and Nazi-occupied \u00adcountries when it was released in 1940, which is unsurprising given its direct mockery of Adolf Hitler. Charlie Chaplin was even warned that it might...<\/p>\n","protected":false},"author":1,"featured_media":13995,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-13994","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"yoast_head":"\nFrames of resistance\u2014looking at films against fascism Reviews & Culture - Socialist Worker - Cultural Left<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/culturalleft.org\/cl\/2026\/07\/21\/frames-of-resistance-looking-at-films-against-fascism-reviews-culture-socialist-worker\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Frames of resistance\u2014looking at films against fascism Reviews & Culture - Socialist Worker - Cultural Left\" \/>\n<meta property=\"og:description\" content=\"Charlie Chaplin uses humour to show the horrors of Hitler\u2019s Germany in The Great Dictator (Photo: WikipediaCommons) The Great Dictator, 1940 The Great Dictator was banned in Germany and Nazi-occupied \u00adcountries when it was released in 1940, which is unsurprising given its direct mockery of Adolf Hitler. 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