Wonderful Chaplin adventure!

Charlie Chaplin's name has grown synonymous with classic comedy. Throughout the early 1900s, the extraordinary silent movie comedian featured in short films ranging from 10-30 minutes. These years denoted the birth of one of the most recognisable movie characters in existence: Chaplin's Little Tramp. There is little doubt that Chaplin knew how to put bums on seats. He also knew how to move his audience while making them laugh.

The Kid was Chaplin's first endeavour at directing a feature-length movie. What was initially slated as a two-reel short developed into the eventual "six reels of joy" (as advertised on the poster). As a result, the film was an enormous success - both critically and commercially.

Just days after Chaplin's newborn child died due to complications following birth, the passionate filmic comedian was back at work. While searching for a co-star for his latest movie (that ultimately became The Kid), Chaplin came across a juvenile vaudevillian named Jackie Coogan. Apparently during production the two stars shared such an intimate bond that they virtually acted like father and son, adding believability to their characters. The camaraderie is evident in their jovial performances and fabulous chemistry. While behind the camera, Chaplin was a comprehensive perfectionist. He shot everything countless times as he strived for perfection in every scene. Altogether approximately 50 hours of footage was shot for the 60-minute picture. Many years later Chaplin re-edited the film and re-released a 50th Anniversary Edition (this was primarily to maintain legal possession of the movie). For this re-release he removed 3 scenes (bringing the duration down to roughly 50 mins), added some new titles and added a wonderful score that he composed himself. The zeal and perseverance in Chaplin's work becomes obvious in every frame present in the final film.

The story begins with the introduction of an unwed mother (Purviance) whose "sin is motherhood". She leaves her newborn baby in the back of a limousine, hoping a wealthy family will take him in. But almost immediately, a chain of events leave the baby in a dark alley.
Enter the Little Tramp (Chaplin, of course) who finds the baby and, with little other choice, decides to raise him. Five years later the child has developed into a young man named John (Coogan). The Tramp and his unofficially adopted child have developed the perfect con artist scheme: John wanders the streets throwing rocks at windows, and then the Tramp gets paid to repair the smashed windows. When the authorities learn of the Tramp unofficially adopting the child, they instigate a chain of events that places the father-son bond in jeopardy.

Often cited as Chaplin's most personal and sentimental film, The Kid is an endearing combination of pathos and humour. Chaplin's earlier films concentrated on his balletic slapstick comedy. His main objective with this first feature-length movie was to create a more fully-rounded story incorporating elements of both sentiment and comedy. But the more emotional scenes are usually punctuated by an immediate gag. Even during the most heart-wrenching scenes, the film doesn't linger or get bogged down in seriousness. Instead it pushes on with a clever laugh. The gags aren't drawn out either; instead they are well-paced, well-placed and concise, never overstepping their welcome. In trademark Chaplin style, the gags are an indelible combination of sight gags and slapstick. Some of the film's highlights include a bully brawl, the Little Tramp emerging from bed, and the Tramp's angelic dream.

The Kid is such a personal movie because Chaplin evoked many childhood memories to permeate the proceedings. As shooting commenced only a few days after the death of Chaplin's first child, he wrings every ounce of his own emotions out during the most heart-rending scenes between the Tramp and the Kid. When the authorities threaten to tear the Kid away from the Tramp, the scene mirrors Chaplin's own experience when he was taken away from his mother at an early age. After his mother was taken away from him, Chaplin and his brother Sydney were assigned to an orphanage. The anguish in the separation scene feels so genuine that it practically feels like a documentary. Chaplin conveys brilliant emotions as he struggles to rescue Coogan whose outstretched arms, tears and silent wailings communicate total devastation (Charlie Chaplin stated in his autobiography that the young Jackie Coogan was made to cry by his father, who told him that if he would not cry in the scene then he'd be sent to an actual workhouse). The realism ensures the film a notable place in the highlights of Chaplin's career.

An additional element that guaranteed the film's success is young Jackie Coogan. Coogan is totally disarming, cute, and delightful. He is natural and unaffected, and presents a realistic performance that few child actors have matched. Even at a tender young age the actor could almost upstage Chaplin. Coogan went on to become the original Uncle Fester in The Addams Family.
Of course Chaplin himself proves outstanding as both a physical comedian and a director. The man has a talent for perfectly staging comedy. The timing in particular is brilliant.
While Chaplin and Coogan are the central core of The Kid, there are a few other cast members that are worth mentioning. Edna Purviance is particularly good as the Kid's mother. She doesn't have much to do in her role, which can probably be attributed to the bout of drinking that led Chaplin to consider removing her from the film altogether.

Overall, The Kid is solid entertainment for its brisk running time of about 60 minutes (depending on which version you watch). Sometimes old silent movies are difficult to watch, but there is never a dull moment in this outstanding flick. The film doesn't attempt much of a solid story, however Chaplin was the king of classic comedy and we watch this film to enjoy his mannerisms. It's hard not to like The Kid with its conservative yet charming amalgamation of pathos and humour. The film symbolises the quintessential Chaplin spirit, and during the film's short duration it does enough to convince us that the man is a genius. Perhaps the film lacks a certain spark that made Modern Times and The Gold Rush so excellent, but that's probably the only negative I can muster.

The Kid is still a great movie forever blessed with the power to bring "a smile--and perhaps a tear."

9.1/10