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 reconstitute the symbols of the kings, the lictors of the dictator never removed the axes from their fasces, even within the pomerium. Symbolizing their power over life and death, the axes of a dictator's lictors set him apart from all other magistrates. In an extraordinary sign of deference, the lictors of other magistrates could not bear fasces at all when appearing before the dictator. As the kings had been accustomed to appear on horseback, this right was forbidden to the dictator, unless he first received permission from the "comitia". In addition to holding a military command and carrying out