THE KID
US, 1921, 68 minutes (50 minutes/1971) Black and white.
Charles Chaplin, Edna Purviance, Jackie Coogan.
Directed by Charles Chaplin.
The Kid is Charlie Chaplin’s first feature-length film. After making many short films in the previous decade and establishing his Little Man character, Chaplin ventured into a feature film, capitalising on his tramp character and an encounter with a young child. The film was very emotional and was very successful on its first release. Chaplin was able to create a great deal of pathos in the parent-child relationship. Chaplin was also inventive in his cinema techniques including dream sequences. In 1971 a shorter version of the film was released with a new score composed by Chaplin, based on themes from Tchaikovsky.
During the 1920s Chaplin went on to make several other feature films including The Circus and The Gold Rush. His films in the sound era often relied on the techniques from the silent films as in City Lights and Modern Times. He satirised Hitler with The Great Dictator. After World War Two he made M’sieur Verdoux and his masterpiece Limelight. He made King in New York in 1956 when he had been excluded from the United States. His final film, Countess from Hong Kong, with Sophia Loren and Marlon Brando was not a critical success.
However, The Kid embodies most of the qualities of Chaplin’s film-making as well as communicating his ideal character, the tramp, in relationship with children.
1. This film is considered a classic. Why? What was its overall impact on modern audiences? What classic qualities appealed?
2. Comment on the films use of twenties’ film techniques. The use of silent techniques? The black and white photography, the still camera? The use of words and captions? The editing of incidents etc.?
3. How impressive was Charlie Chaplin? Why? Comment on the significance of his image: the little man, the poor man, the victim, the kindly man? What impact did his character have on audiences? Why was it such a successful and sympathetic character? Why does it still have appeal?
4. What quality of humanity ran through the film? Human feeling about orphans, unwed mothers, little man, poverty, children etc.? Although many of the sequences were in poses. how much human truth was there in the feeling?
5. How well did the film blend sentiment with reality? Was the film sentimental? The early portrayal of the mother leaving the child? The dream sequence with them as angels a in heaven? How did the sentiment then contrast with the comedy for realism?
6. The impact of the opening on audiences? The mother and her plight, her weeping, the irony of the car being stolen? The irony of her return and her search?
7. The complete contrast with Charlie finding the child and the various attempts to get rid of it ? Why were these so funny? How did they contrast with the attitude of the mother?
8. How attractive was the kid himself? The atmosphere of the little boy, but his toughness? How did the film build up his relationship with Charlie? The quality of life? The quality of dependence? The sequences at home? Especially the huge meals?
9. Why were the sequences of the two at work so funny? The little boy and the windows, the police, the ladies grateful to have their windows mended, the running away from the law etc,?
10. Comment on the fight sequences. The two boys and their fighting in the alley, as a symbol of the neighbourhood in which the kid grew up? Charlie and his role in fighting? The little man subdued by the tough man? The humour of the fight sequences as they were filmed?
11. What was the significance of the dream sequences and the angels? What did they add by way of comedy, sentiment?
12. How good was the resolution of the film: the mother and her kindness, her success, finding her son? The contrivance of the note and the doctor?
13. Does it matter for modern audiences if the plot seems contrived and the presentation dated? What is basically communicated through this film?
14. What values did it stand for? A comparison of the 1920s with the modern decade?
