Undoubtedly Chaplin’s finest film of the period and one of
the highlights of his long career, The
Kid was not only his first feature film but also in my opinion his first
great work. Produced at a difficult time in the star’s life, The Kid is the first of several Chaplin
films which perfectly balanced comedy, drama and pathos. His previous films had
often contained at least one of these elements and earlier films such as A Dog's Life and The Immigrant had provided at least two, but for the first time in
1921, despite personal tragedy and pressure from his studio, Chaplin created
his first true masterpiece.
Production began in 1919 just ten days after the death of
Chaplin’s baby son Norman. Chaplin, who had been struggling creatively, was
instantly hit with an idea that was to become The Kid. As his Tramp character Chaplin finds a baby who has been
abandoned by a poor single mother (Edna Purviance). The Tramp ends up raising
the child alone and when he is around six or seven the child (Jackie Coogan)
helps his adoptive father in his window repair business. The father follows the
boy around town as the boy breaks windows. Soon after being smashed, the man
turns up to repair them. All is well until the boy falls sick and a Doctor
realises the Tramp is not the natural father. Soon after Social Services arrive
to take the boy from the man in what is one of the most gut wrenchingly moving scenes
in cinema history.
It will be obvious to anyone with knowledge of Chaplin’s
life that The Kid is a very personal
film to its Director/Star. In a sense there is more of the real Chaplin in
Jackie Coogan’s character than his own. Chaplin was taken from his mother aged
just seven in Victorian London during a childhood that was fought with poverty,
mental illness and hardship. Even the streets and sets which form the backdrop
of The Kid have a Victorian London-Dickensian
feel to them and look nothing like L.A. Chaplin’s relationship both behind the
scenes and on screen with his co-star may also represent the lost relationship
between himself and his own son. It has been said that Chaplin treated the
young actor as though he was his own son throughout filming. As with a lot of
Chaplin’s great films there was a lot of himself in the themes and the plot
itself meant a great deal to him.
The obvious anguish on the faces of both actors when they
are forcibly separated is one of the most incredible scenes I have ever seen on
film. It brings a tear to my eye every time I see it and for me is also
Chaplin’s finest hour as an actor. Jackie Coogan who is remarkable throughout
the film is also brilliant in the scene. The looks of elation when they are
reunited and their kiss is so heart warming to see. It really feels as though
the two actors are father and son during that pivotal scene. In other scenes
together they form a great comedy double act. Despite Edna Purviance’s frequent
appearances in Chaplin’s films, The Kid
is the only time when the star had a true co-star. And what a co-star. The film
instantly propelled Coogan into the limelight and made him Hollywood’s first child star. Coogan’s acting
performance is up there with the best of any Chaplin film and to be honest,
with any child actor. He saw fame and money in the 1920s before falling on
hardships later in life, only to have his career resurrected in the 1960s as
Uncle Fester in The Addams Family, an
unlikely role for the former cute kid.
Like many of his feature films, Chaplin revisited The Kid in his twilight years to create
a definitive version. Along with removing some very symbolic scenes featuring
Edna Purviance and Carl Miller (the kid’s parents), he also composed a
wonderful score to accompany the film. Chaplin’s score works perfectly with the
visuals, capturing the mood at every turn. It is also quick to change and in
one early scene turns from a dramatic, slow paced sound as Purviance gives up
her baby to a jolly foot tapping number with the arrival of The Tramp. Always
the perfectionist, Chaplin not only went back to make changes in 1971 but in
1919-21 actually filmed more than fifty times more material than was ever used
in the finished product. For the time that was an astronomical amount and goes
some way to explain the length of the shoot and the concern the studio had for
the picture.
I’ve never found The
Kid as funny as some of Chaplin’s later films or even some of his earlier
ones but the film nonetheless contains an awful lot of great comedy. Some of
the highlights include Chaplin finding the baby and believing he has been
thrown out of a window, the kid’s run in with a policeman and the Tramp trying
to kick the kid away when the policeman is watching them. Despite some fine
comedy that is liberally scattered throughout, it is the drama that takes
centre stage. The pacing is also much slower than his earlier work and as a
result payoffs are that much more enjoyable. The window smashing scene is one
of my all time Chaplin favourites. Around the mid point of the film there is a
strange and surreal dream sequence in which the Tramp falls asleep on the step
outside his house. In this sequence the entire cast play angels who frolic in a
flowery and bright world which is infiltrated by demons who enter the body of
the characters, changing their attitudes to one another. I’ve always thought
the sequence was a little out of place but enjoyed it anyway. It almost feels
like an intermission for the main feature but has some nice moments.
One moment which isn’t so nice is the inclusion of thirteen
year old Lita Grey who just three years after the film’s release would become
Chaplin’s second wife. Charlie Chaplin was renowned for his interest in younger
women and was at the time going through a divorce from his first wife Mildred
Harris who he had married when she was seventeen. Chaplin spotted Lita Grey on
a tour of his studio and gave her the role of an angelic temptress, making her
up to look older and kissing her on screen. Nowadays actions like that would
end Chaplin’s career but at the time they caused much less sensation. Even so
his actions with the likes of Grey and Harris have left a big “BUT…” over an
otherwise flawless career.
Leaving scandal and problems behind the scenes aside for a
moment though, The Kid is one of my
favourite Chaplin films and manages to combine so much that made the
Actor/Director great. It is deeply personal, funny, charming and engaging and
though much shorter than a modern feature, was a confident first step in the
direction that would lead to his more popular and enduring work.
10/10
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