BUCK writes:

Readers who watched the Zach Wahls speech may have noticed and viewed one of the rotating videos that popped up afterwards: “The Greatest Speech Ever Given” or “The Great Dictator Speech.” Charlie Chaplin, in his 1940 Hitler-spoof, dressed as Hitler [or the “Phooey” (Fuhrer)], gives a dramatic, rousing and well-delivered speech in which he pleads for the end of conflict, the unity of all mankind, social security for the aging, world democracy, and the end of national borders. Even he wasn’t yet clambering for the end of marriage between men and women – the “taking of our rights by changing the Constitution to read that marriage is only between one man and one woman,” as Wahls put it. Charlie Chaplin, it seems, may have been one of the first infected celebrities to preach for modern liberalism, but even he hadn’t yet got around to that.

Wahls and Chaplin could be kindred spirits. Wahls said he scripted and rehearsed his speech, and it seems he did as well as Chaplin did. 

Wahls says on The Ellen Show: “[W]e’re really not so different…a family with two moms really isn’t that different from a family with a mom and a dad.” Not a hint of disagreement. He was speaking gospel to that audience. 

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Thomas F. Bertonneau writes:

On the topics of demented leftwing speeches and the nihilist filmmaker-performer Charles “Charlie” Chaplin, I invite readers of The Thinking Housewife to watch the concluding sequence of Monsieur Verdoux (1947), nominated for a “Best-Picture” award by the Academy of Motion Picture Arts and Sciences in the year of its release. In the film, which he directed, Chaplin plays a suave serial killer who preys on wealthy widows, young and old, who have inherited accessible cash from their deceased husbands. I suggest that viewers pay particular attention to the second half of the clip beginning with the trial [7.20], including Verdoux’s speech to the court [8.15] and his conversation with the priest about good and evil [10.30] just before his execution. I agree with “Buck” that The Great Dictator is a mess of saccharine sentimentality and Marxoid wackiness and that the final speech is probably the model of Standard Leftwing Discourse. Verdoux’s self-exculpating oration, which Chaplin delivers with the same conviction that he put into the “stepping out of character” monologue at the end of The Great Dictator, is even more perverse and immoral than its precursor. Anyone who watches the clip will grasp why I call the man a nihilist. It’s the most blatant invocation of the “society is guilty – so the guilty are innocent” canard that I’ve ever encountered. That Chaplin is a darling of the left’s “artsy” faction tells us much of what there is to know about the left.

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