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Chaplin’s penultimate feature—made while in exile in England—is both a stinging satire of and a curiously poignant paean to America. Unseated by revolution, the mild-mannered king of Estrovia (Chaplin) flees to the US where he’s beleaguered by such annoyances as TV advertising, rock ‘n’ roll, Cinemascope, and McCarthyism. In his most undervalued film, Chaplin’s bitterness toward his former home (watch him turn a hose on HUAC) is tempered by a touchingly enduring optimism.