Soumajit Nath’s review published on Letterboxd:
This film gives u fun, enjoyment!!! This film makes u emotional and this film also teach u a lot of things about love, 'cuz this film is all about strong bonding between a person and his kind of adopted son.
“It is not flesh and blood, but heeart which makes us fathers and sons.” – Johann Friedrich Von Schiller
Exactly this is what, that our Charlie Chaplin did this in this film,he becomes a careful father of a lonely child, he gave him foods, he gave him shelter, he gave him clothes and he also gave him care and love...for why this bonding builds up.
Why I love this film
I know this story I mean the story between father and adopted child is so common..but acting, expression,execution these factors make this film different from other one.
Not only Charlie but also that child, both of 'em are incredible in this film...their expression is so much realistic that u can feel the story and their performance touches u'r heart.
Its undeniable truth that the strong on and off-screen relationship between Coogan and Chaplin helped create the perfect parent-child closeness. When a week’s work at the studio finished, Chaplin took the kid out on a Sunday to visit amusement parks and circus. In the light of his own deprived childhood, film scholars argue that this was more than an exercise on Chaplin’s part to build trust and love with Jackie Coogan. Coogan played Oliver Twist in the 1923 production and was a considerably successful child star. Nevertheless, misfortunes followed him, similar to the ones that plagued the later decades’ child stars of Hollywood. When the adult Coogan was going through tough financial times, the California legislature passed Child Actors Bill aka Coogan Act to protect the earnings of child actors by setting up trust funds.
Fun factor these is common element in all chaplins film.He also tells us serious story in some comical way. In this film we get both emotional attachment and enjoyment.
"A picture with a smile-and perhaps a tear"
Its bittersweet ending and some deep thinking about ending seen
Every time I revisit Charlie Chaplin’s first feature The Kid (1921), the cynical part of my mind scoffs at the happy ending. The Tramp is greeted by the wealthy Woman and gets reunited with his beloved John, who welcomes the Tramp into his new, bigger home. Even the bullying policeman loses the chip on his shoulder and gleefully shakes hands with our eccentric, toothbrush mustachioed hero. But despite the limitations defined by such an exceedingly hopeful ending, The Kid’s power, and timelessness can be attributed to the things that are not easily explainable – our emotions. Author Mark Cousins in the book The Story of Film says, “It is possible to see The Kid and hardly laugh”. But what’s impossible is seeing the movie and not cry.
Some outstanding messages
Chaplin is clearly at his expressive best when he tries to portray The Tramp’s poverty. Be it the make-shift cradle or the nightgown he fashions out of an old blanket, he efficiently showcases the poverty-stricken household. Although a bit disconnected from the narrative, Chaplin mocks the society’s traditional morality in a scene involving Charles Reisner’s bully character (after a delightful child boxing sequence). The bully keeps trying to land a blow on the terrified Tramp, who just manages to save himself by ducking and dodging at the right time. The bully wants The Tramp to take up the punishment for John winning the fight with the bully’s younger brother.
At one point The Woman appears and speaks of Christian compassion (‘to turn the other cheek’) to the bully . But The Tramp uses such traditional (impractical) morality to his own advantage to deliver some hurtful punches. The slapstick scene jeering at such unsuitable norms of morality sets the stage for the big emotional scene, where the authorities – the official bearers of traditional morality – intrude upon The Tramp & kid’s haven to pull them apart. Perhaps, such societal conventions are deeply entrenched on The Tramp’s mind so that he dreams of a heaven which is equally artificial and operates on binary worldview (angel-devil, innocence-corruption). Or maybe the dream didn’t end for our Tramp even when the surly policeman shakes him up and takes him to John’s mansion.The happily-ever-after ending is also mildly ambiguous. I mean what can The Tramp do now that the kid has got a rich mother? Maybe he could go in search of a gold rush in order to escape the mad circus of the capitalist modern times. Well, it’s a pointless question anyway. Because as long as empathy keeps flowing in our hearts, The Kid & The Tramp’s heartfelt connection will remain the same, untouched by time.
Technical aspects of this film again extraordinary, timing for creating some comic seens, background musics, writing, editing are top class...
Lastly I can say this film is one of most emotional but funny film,I have ever seen, infact this is more emotional than Chaplin's "Circus"
Rank all films of Chaplin:Here