The Great Dictator who view the barber as different include Stephen Weissman, whose book "Chaplin: A Life" speaks of Chaplin "abandoning traditional pantomime technique and his little tramp character". DVD reviewer Mark Bourne asserts Chaplin's stated position: "Granted, the barber bears more than a passing resemblance to the Tramp, even affecting the familiar bowler hat and cane. But Chaplin was clear that the barber is not the Tramp and "The Great Dictator" is not a Tramp movie." "The Scarecrow Movie Guide" also views the barber as different. Annette Insdorf, in her book "Indelible Shadows: Film and the Holocaust" (2003), writes that "There was
Roman dictator to the dictator, although this did not always prevent the two from disagreeing. During the first two centuries of the Republic, the dictatorship served as an expedient means by which a powerful magistracy could be created quickly in order to deal with extraordinary situations. Created for military emergencies, the office could also be used to suppress sedition and prevent the growing number of plebeians from obtaining greater political power. In the Conflict of the Orders, the dictator could generally be counted upon to support the patrician aristocracy, since he was always a patrician, and was nominated by consuls who were