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"The Kid" (1921): Charlot and the Little Hero of the Slums | MARABUZAL REVIEW@marabuzal290d

***

Charles Chaplin created one of the most iconic films of silent cinema with "The Kid," but he also left the world a masterpiece that manages to balance physical comedy, social criticism, and tenderness.

This film, the first feature he directed entirely, was born from a personal tragedy—the death of his son—and resonated so deeply that it became a universal testament to resilience and love in the midst of poverty.

Charlot finds an abandoned baby in an alley and, after several failed attempts to leave the baby in "better hands," decides to raise the baby as his own. What begins as an absurd situation—a homeless man caring for a child—leads to a relationship that defies all logic of urban survival.

Five years later, the child—played by Jackie Coogan in a role that would make him famous—becomes Charlot's ideal companion. Together they develop a "business" as ingenious as it is illegal: the child breaks windows with stones, and Charlot magically appears as a glazier to repair them.

The scenes are brilliant: from the boiled shoe breakfast—where shoelaces become spaghetti and nails become delicacies—to the fight against the neighborhood bully, where Chaplin displays his talent for turning everyday objects into comic weapons.

But the humor is never gratuitous; each gag reflects the creativity born of necessity, and the complicity between the two protagonists is so contagious that the audience can't help but laugh and be moved at the same time.

The story's villain—an orphanage driver with a sinister mustache—bursts in to try to separate the boy from Charlot, unleashing a chaotic chase across rooftops and streets that culminates in an unlikely and moving rescue.

Chaplin uses the film to criticize the coldness of institutions toward the most vulnerable, but he does so with such a lighthearted tone that the social message permeates without sermonizing. The film, though silent, speaks loudly with its images: poverty is not just a lack of money, but also the struggle to maintain dignity and emotional ties in a world that marginalizes the weak.

Jackie Coogan, only seven years old, steals scenes with his boundless expressiveness—whether looking with mischievous innocence or throwing stones with professional precision—and becomes the perfect counterpoint to Charlot's elegant pathos.

***

The chemistry between the two is the heart of the film, and Chaplin knows it: it allows them to improvise and imbue their characters with a humanity that transcends the era. He even sneaks in, almost as if by stealth, a surreal dream where the neighborhood is transformed into a paradise of angels… who continue to break windows, because even in fantasy, humor prevails.

"The Kid" was a resounding success upon its release and cemented Chaplin's position as a storyteller capable of blending the grotesque with the sublime. It remains relevant today not only for its technique—the use of the split screen in the dream sequence was groundbreaking—but for its timeless message: family is defined not by blood, but by loyalty and the ability to laugh together at misfortunes.

The final scene, where Chaplin and the kid are finally reunited, is an embrace of cinema itself, of its power to unite us in laughter and tears. If there's one film that proves that art doesn't need words to be universal, it's this one. Chaplin summed it up best: "Humor is a proof of freedom, and love its best disguise."

en español

"El chico" (1921): Charlot y el pequeño héroe de los barrios pobres

Charles Chaplin creó una de las películas más emblemáticas del cine mudo con "El chico", pero también legó al mundo una obra maestra, que logra equilibrar la comedia física, la crítica social y la ternura.

Esta cinta, es el primer largo que dirigió por completo, y la idea nació de una tragedia personal, la muerte de su hijo, caló tanto que se convirtió en un testimonio universal sobre la resiliencia y el amor en medio de la pobreza.

Charlot encuentra a un bebé abandonado en un callejón y, tras varios intentos fallidos de dejarlo en "mejores manos", decide criarlo como propio. Lo que comienza como una situación absurda—un vagabundo cuidando a un niño—deriva en una relación que desafía todas las lógicas de la supervivencia urbana.

Cinco años después, el niño—interpretado por Jackie Coogan en un papel que lo haría famoso—se convierte en el compañero ideal de Charlot. Juntos desarrollan un "negocio" tan ingenioso como ilegal: el niño rompe ventanas con piedras y Charlot aparece mágicamente como cristalero para repararlas.

Las escenas son brillantes: desde el desayuno a base de zapato hervido—donde los cordones se convierten en espaguetis y los clavos en delicias—hasta la pelea contra el matón del barrio, donde Chaplin despliega su talento para convertir objetos cotidianos en armas cómicas.

Pero el humor nunca es gratuito; cada gag refleja la creatividad que nace de la necesidad, y la complicidad entre los dos protagonistas es tan contagiosa que el público no puede evitar reír y emocionarse al mismo tiempo.

El villano de la historia—un conductor de orfanato con un bigote siniestro—irrumpe para intentar separar al niño de Charlot, desatando una persecución caótica por techos y calles que culmina con un rescate inverosímil y conmovedor.

Chaplin aprovecha la cinta para criticar la frialdad de las instituciones hacia los más vulnerables, pero lo hace con un tono tan ligero que el mensaje social se filtra sin sermones. La película, aunque muda, habla a gritos con sus imágenes: la pobreza no es solo falta de dinero, sino también la lucha por mantener la dignidad y los lazos afectivos en un mundo que margina a los débiles.

Jackie Coogan, con solo siete años, roba escenas con su expresividad desbordante—ya sea mirando con inocencia pícara o lanzando piedras con precisión profesional—y se convierte en el contrapunto perfecto al patetismo elegante de Charlot.

***

La química entre ambos es el corazón de la película, y Chaplin lo sabe: les permite improvisar y dotar a sus personajes de una humanidad que trasciende la época. Incluso, mete, casi de contrabando, un sueño surrealista donde el barrio se transforma en un paraíso de ángeles… que siguen rompiendo ventanas, porque hasta en la fantasía el humor prevalece.

"El chico" fue un éxito rotundo en su estreno y consolidó a Chaplin como un narrador capaz de mezclar lo grotesco con lo sublime. Hoy sigue siendo relevante no solo por su técnica—el uso de la pantalla dividida en la secuencia del sueño fue innovador—sino por su mensaje atemporal: la familia no se define por la sangre, sino por la lealtad y la capacidad de reírse juntos de las desgracias.

La escena final, donde Charlot y el niño son finalmente reunidos, es un abrazo al cine mismo, a su poder para unirnos en la risa y la lágrima. Si hay una película que prueba que el arte no necesita palabras para ser universal, es esta. Chaplin lo resumió mejor: "El humor es una prueba de libertad, y el amor su mejor disfraz".

🌱 _{For the visual design of the post I have used the following tools: my Samsung phone's camera, free versions of Canvas, Nano Banana and Banner Maker/Para el diseño visual del post he utilizado como herramientas: cámara de mi teléfono Samsung, versiones libres de Canvas, Nano Banana y Banner Maker}

🌱 _{Mi idioma nativo es el español, traduzco al inglés con Google Translation /My native language is Spanish, I translate to English with Google Translation}

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›The Kid: Un encuentro conmigo [ESP-ENG]@elizabeths14808d
Un encuentro conmigo, también conocida como "The Kid", sin duda una película familiar que también tiene su gracia y al mismo tiempo momentos que te sacarán una lágrima.

Spoiler

An Encounter with Me, also known as "The Kid", is undoubtedly a family film that also has its funny and at the same time moments that will bring a tear to your eye.

Vi esta película por recomendación de mis redes sociales, es del 2000 y al ver a Bruce Willis con actor protagónico en una película sin disparos que me hizo recordar a su actuación en Sexto Sentido, pues me llamó más aún la atención y en especial la escena más triste de la película, es que me gusta ver películas que me hagan llorar 😂.

Bueno, un día crecemos y resulta que justificamos mucho el hecho de como somos, dejando a un lado el saber que nuestro comportamiento y actitudes dé adultos, no son más que el reflejo o consecuencia de lo que fue nuestra niñez. Esto sucede ya que muchas veces decidimos hacer como Russell Duritz, olvidar como éramos de niños. Esto por otro lado a este personaje lo hacía ser una persona muy ocupada y perfeccionista, alguien que no solía mostrar sus sentimientos.

Spoiler

I saw this movie on the recommendation of my social networks, it's from 2000 and seeing Bruce Willis with a leading actor in a movie without shooting that reminded me of his performance in Sixth Sense, it caught my attention even more and especially the saddest scene of the movie, I like to watch movies that make me cry 😂.

Well, one day we grow up and it turns out that we justify a lot the fact of how we are, leaving aside the knowledge that our behavior and attitudes as adults, are nothing more than the reflection or consequence of what was our childhood. This happens because many times we decide to do as Russell Duritz did, forgetting how we were as children. This, on the other hand, made this character a very busy and perfectionist person, someone who did not usually show his feelings.

Mostrar nuestros sentimientos no está mal, pero cuando vives una niñez como la del pequeño Rouss, interpretada por el carismático Spencer Breslin con el nombre de "Rusty", te das cuenta porque Roussell Adulto, no muestra sus emociones, al pequeño le dijeron muchas veces: "No llores, madura", entonces dejó de hacerlo y maduró según él. Es por ello, que siendo adultos necesitamos un encuentro con nosotros mismos, con ese niño interior.

Desde luego en la película vas a reír y también debes entender al adulto Roussel, nadie luego de ser un pequeño "fracasado" y todo lo que odias ahora que creciste, querrá reencontrarse con ello y es que en la vida, solemos ser nuestros mayores verdugos. Así que a Roussell, junto a su pequeño Rusty, les tocará vivir una aventura, recordar el pasado que es el presente de su yo niño, sanar heridas y además enfrentar algunos miedos, para no solo ser mejor en la adultez de Rouss, si no también en su niñez pasada y en su futuro.

Es un poco confunda, pero lo que más me llama la atención, es el poder que tienen las palabras de los padres en los hijos y las consecuencias de ello. Así que te invito a ver esta película y sacar algún aprendizaje de ella, si aún no lo has hecho.

Spoiler

Showing our feelings is not bad, but when you live a childhood like that of little Rouss, played by the charismatic Spencer Breslin with the name of "Rusty", you realize why Roussell Adult, does not show his emotions, the little boy was told many times: "Do not cry, grow up", then he stopped doing it and matured according to him. That is why, as adults, we need an encounter with ourselves, with that inner child.

Of course in the movie you are going to laugh and you must also understand the adult Roussel, nobody after being a little "failure" and all that you hate now that you grew up, will want to meet again with it and in life, we are usually our biggest executioners. So Roussell, along with his little Rusty, will have to live an adventure, remember the past that is the present of his child self, heal wounds and also face some fears, to not only be better in Rouss's adulthood, but also in his past childhood and in his future.

It's a bit confusing, but what strikes me the most, is the power that parents' words have on their children and the consequences of it. So I invite you to watch this movie and take some learning from it, if you haven't already.

_{Imágenes de la película sacadas dé Sensacine, portada editada en canva pro.}

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›Film Review: The Kid (Disney's The Kid, 2000)@drax1128d

Reaching the round number of years is used as benchmark for people to assess successes and failures in their lives. Protagonist of The Kid, 2000 film directed by Jon Turtletaub, has, at least superficially, good reasons to be pleased with himself. Russ Duritz (played by Bruce Willis) is days from his 40th birthday and looks like it has it all – career of image consultant in Los Angeles and large number of wealthy and influential clients that brought him luxurious villa and expensive cars. But deep inside Russ is unhappy because he lacks real friends, which turned him into cynical misanthrope, made him estranged from his father and acting badly towards his loyal secretary Janet (played by Lily Tomlin) and long suffering girlfriend Amy (played by Emily Mortimer). Lately, some strange thing began to happen to Russ – he has visions of a red biplane flying over his home. One evening his home is visited by 8-year old boy who calls himself Rusty (played by Spencer Breslin). After some time it turns out that Rusty is actually Russ while he was 8 years old. Russ, suddenly faced with childhood version of himself that recognises his faults with brutal honesty, must reassess his life and try finding a way to correct mistakes he made.

The Kid was made by Disney at the time when the studio was still associated primarily with family entertainment and, as such, it was intended for younger audiences. Script by Audrey Wells mixes infantilism and sentimentality in the way that would make Spielberg’s films look like heavy art dramas. Yet, the film was directed by Jon Turtletaub, director who had many ups and downs in his careers. While his previous film Instinct was incredibly awful, The Kid is surprisingly good. He uses Wells’ script well, trying to tell his fairy tale from two different perspectives, allowing it to be enjoyed both by children and adults. Conflict between innocent world of fantasy inhabited by children corrupt real world inhabited by adults is illustrated in the way two version of Russ sees themselves – for adult Russ his younger self is nothing more than whining fat boy who was bullied by everyone in school, while Rusty sees his older self as loser who, despite all his material wealth, never achieved anything he had dreamed of in his childhood.

The concept works well because of excellent casting. Bruce Willis, who had series of interesting roles in late 1990s and early 2000s, is very good while playing tycoon in existential crisis. Young Spencer Breslin, on the other hand, tries very hard to look like obnoxious brat, light years away from cuteness that Macaulay Culkin promoted for child actors in 1990s; his performance gives this fantasy film a touch of realism that would allow it to connect to otherwise cynical and unreceptive viewers, making The Kid more humane in the process. The rest of cast is also good, which includes always reliable Lily Tomlin and Jean Smart in the small role of television anchor. British actress Emily Mortimer, on the other hand, isn’t that effective in thankless role of Russ’ girlfriend, a character introduced, in all likelihood, for the sole purpose of adhering to Hollywood conventions. However, even with such flaw, The Kid had decent results at the box office and most who watch this film today would have reasons to believe that the audience’s original verdict was correct.

RATING: 7/10 (+++)

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›Film Review: The Kid (1921)@drax1214d

Sir Charles Chaplin is considered to be the most recognisable icon in the history of cinema. He achieved that by becoming first truly global film star. This achievement owes much to silent cinema not being burdened with language barriers and masses in different part of the world easily recognising universal themes and message in his films. But even more could be attributed to Chaplin easily identifying to the majority of the audience all over the globe, namely those within the lower strata of society, and Chaplin’s films being directed primarily towards them. Chaplin also earned his place in history as a talented film maker and innovator and in the very short time his films, just like the cinema in general, evolved from seemingly cheap and meaningless entertainment into something more. One one of the most important points in this process was The Kid, 1921 film which is considered one of Chaplin’s best and one of the great classics of the silent Hollywood.

The plot begins when unnamed young woman (played by Edna Purvience) leaves hospital with male baby. The baby’s father (played by Carl Miller), an aspiring artist, has abandoned her and married another woman. Young mother in desperation decides to leave the baby in the motor car with a note for its presumably wealthy owner. Soon she has second thoughts, but when she returns she finds that the car is gone. It was actually stolen by two criminals who brought it to poor city neighbourhood. Once they find the baby, they leave it at the doorstep of Tramp (played by Charles Chaplin). He at first tries to get rid of the baby, but without success and, gradually, begins to love him. Five years later, baby is a boy named John (played by Jackie Coogan) who lives with Tramp who tries his best to take care of him despite living in poverty. In the meantime, the John’s mother has become a successful actress and she uses her newly acquired money and fame for charity work among the less fortunate. She visits Tramp’s neighbourhood and by accident means her son. It would take some time for her to realise that John is her baby and, in the meantime, Tramp would have to fight against authorities that want to bring the boy to orphanage.

The Kid represented important point in Chaplin’s filmography. Until that time, all of his films were short. The Kid was his first feature and he, apart from starring, also wrote the script, directed the film and even composed the musical soundtrack (which was something still rare in those times). As such, this film represented Chaplin as true film author. But even more important innovation was his idea to transcend the content formula that had made him famous. He introduced the film in opening titles as “picture with a smile… and perhaps a tear”. Thus way he signalled his intention to mix the comedy with which he was always associated with more serious dramatic motives, which could easily be at home in melodramas of D. W. Griffith. Chaplin employed this new formula in perfect balance; all Chaplin fans can still recognise Tramp and enjoy his slapstick humour, but they can also see how his film clearly points to poverty and deprivation as something that is more a rule than exception for members of society. This can be best seen in scenes depicting Tramp trying his best to be proper parent to 5-year old boy while within confines of his rundown single room home. Tramp and John are forced to use all their ingenuity to make ends meet and create some sort of happy life for themselves, and Chaplin uses that as excellent source of humour. Sometimes all of people like Tramp are left the imagination and this can be seen in bittersweet scene when he dreams about his impoverished neighbourhood transformed into paradise and its impoverished inhabitants into angels.

Chaplin here also displayed great talent for casting. His greatest discovery was Jackie Coogan, 6-year old boy from the family of vaudeville performers. Although it wasn’t his first role, The Kid was a display of great talent and helped him become first child star in history of Hollywood. Coogan would, unsurprisingly, get renewed fame in later years with another comic role, this time on television as Uncle Fester in The Addams Family. Coogan’s performance is well matched by an actress playing his mother. Edna Purviance, who played roles in most of Chaplin’s early films, delivers one of the most memorable performances of her career.

Some of today’s viewers, even those that take into account different technical standards from one century ago, might find The Kid to be too old fashioned. Chaplin’s unapologetic sentimentality and desire that wrap up his modern fable with obligatory happy end might not sit well for some in our, supposedly more cynical, age. But The Kid nevertheless clearly shows a great artist at work – talented actor, comedian, director and someone who even now can find the way to audience’s hearts as easily as he did a century ago.

RATING: 8/10 (+++)

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›El Chico / The Kid (1921): Al fin conozco al gran Charles Chaplin.@miguelpeliculas1940d
A pesar de que ya había visto otras películas de la época, e incluso he hecho una que que otra reseña acerca de estas películas, está es la primera vez que veo una producción del gran Charles Chaplin, llevándome una muy grata sorpresa, es increíble todo lo que podían lograr sin sonido alguno y con uno que otro cartel con texto.

Although I had already seen other films of the time, and I have even made a few reviews about these films, this is the first time that I see a production of the great Charles Chaplin, taking me a very pleasant surprise, everything is incredible what they could achieve without any sound and with the occasional sign with text.

Otra cosa que me parece excelente en la película es la elección de la música para cada una de la escenas, ya que combina muy bien con las emociones o las situaciones que se están viviendo, agregando más tensión a una escena de lucha o volviendo más tierna una escena de un abrazo. Para no confundir a nadie, estás eran películas mudas, el sonido se les agrego el años 70 para intensificar las emociones, lo cual lo hace más sorprendente porque sin ningún sonido podían reflejar demasiadas emociones.

Another thing that seems excellent to me in the film is the choice of music for each of the scenes, since it combines very well with the emotions or situations that are being experienced, adding more tension to a fight scene or making it more tender. a scene of a hug. In order not to confuse anyone, these were silent films, the sound was added to them in the 70's to intensify the emotions, which makes it more surprising because without any sound they could reflect too many emotions.

Fuente

Sinopsis Oficial / Official Synopsis:

"Una madre abandona a su hijo con una nota en una limosina que acaba siendo robada y el niño es dejado en un contenedor de basura. Un vagabundo encuentra al bebé y se hace cargo de él. Cinco años después, la mujer intenta encontrar al hijo abandonado."

"A mother abandons her son with a note in a limousine that ends up being stolen and the child is left in a garbage container. A homeless man finds the baby and takes care of him. Five years later, the woman tries to find the abandoned son."

Fuente

La historia detrás de esta película es muy linda, trata de una madre muy pobre, que al ver que el padre del hijo que acaba de tener le da la espalda totalmente, decide dar en adopción a su bebé. Para su mala suerte, unos ladrones roban el vehículo donde había dejado a su criatura y terminan abandonando en un botadero, al tiempo que la mujer se arrepiente y vuelve en busca de su hijo. Charles Chaplin, que hace de vagabundo, se consigue con el bebé, y al ver el terrible estado en que se encuentra, decide adoptarlo como suyo.

The story behind this film is very beautiful, it is about a very poor mother who, seeing that the father of the son she just had, totally turns his back on her, decides to give her baby up for adoption. Unfortunately for her, some thieves steal the vehicle where she had left her child and end up abandoning it in a dump, while the woman repents and returns in search of her son. Charles Chaplin, who plays a tramp, gets hold of the baby, and seeing the terrible state he is in, decides to adopt him as his own.

Fuente

Lo que hace tan especial esto, es que se siente el afecto de Chaplin por el niño, al que bautiza John. Chaplin resulta ser el padre ideal para el chico, ya que a pesar de no tener bienes materiales ni mucho dinero, acobija a esa pobre alma tan desdichada como el mismo, logrando así una pareja muy bien compenetrada, que lucharán hasta el final y contra todo el mundo, con tal de que no los separen. Por el camino, el chico aprenderá a ser un pillo junto a Chaplin y de esta forma ambos se ganarán la vida y se meterán en algunos problemas muy cómicos.

What makes this so special is that Chaplin's affection is felt for the child, whom John baptizes. Chaplin turns out to be the ideal father for the boy, since despite not having material goods or much money, he shelters that poor soul as unfortunate as himself, thus achieving a very well-connected couple, who will fight until the end and against everything. the world, as long as they don't separate them. Along the way, the boy will learn to be a rogue with Chaplin and in this way they will both earn a living and get into some very funny trouble.

Fuente

Se logra una ambientación más que adecuada, se siente la pobreza en el ambiente y también en los aposentos de nuestros protagonistas, se aprecia los problemas de las clases bajas de aquellas épocas, la violencia en la calle y todo lo demás, aunque al ver la relación de padre e hijo que tienen estos personajes, y que a pesar de todo nos les falta nada siempre estén el uno con el otro, se percibe el tono dramático del filme, pero sin llegar a ser muy cursi.

A more than adequate setting is achieved, the poverty is felt in the environment and also in the rooms of our protagonists, the problems of the lower classes of those times are appreciated, the violence in the street and everything else, although when seeing the father and son relationship that these characters have, and that despite everything we lack nothing they are always with each other, the dramatic tone of the film is perceived, but without being very corny.

Fuente

Por todo lo que he podido leer y por lo que ví hace muy pocas horas, Chaplin es uno de los genios más grandes de la historia del cine, logrando demasiado con tan pocos recursos que tenía para la época, a diferencia de hoy, que con tanto logran tan poco. Además no se podía escapar la actuación del chico (Jackie Coogan), siendo a mi parecer una de las mejores actuaciones de un actor tan joven que he visto en mi vida, mínima ubicado en el top 3.

From all that I have been able to read and from what I saw a few hours ago, Chaplin is one of the greatest geniuses in the history of cinema, achieving too much with so few resources that he had at the time, unlike today, than with so much they achieve so little. In addition, the performance of the boy (Jackie Coogan) could not be escaped, being in my opinion one of the best performances of an actor so young that I have seen in my life, minimum located in the top 3.

Fuente

En conclusión, a pesar no ser uno de los trabajos en el momento de oro de la carrera de Charles Chaplin, es una producción de lo mejor que puedas encontrarte en el cine antiguo, todo está tan bien pensado que es increíble pensar que está historia fuera concebida hace 100 años, de verdad completamente recomendada a aquellos que les guste este tipo de películas, y para aquellos que quieran comenzar, es una excelente película para hacerlo.

In conclusion, despite not being one of the works at the golden moment of Charles Chaplin's career, it is a production of the best you can find in old cinema, everything is so well thought out that it is incredible to think that this story was out Conceived 100 years ago, I really recommend it to those who like this type of film, and for those who want to start, it is an excellent film to do so.

Fuente

Mi calificación para esta película / My rating for this movie:

8.0 / 10.0

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›The kid (Película): a casi cien años de este clásico del cine.@cristiancaicedo2617d
Un clásico

Todo el mundo sabe quién fue Charles Chaplin. Su imagen de vagabundo con sombrero y bastón y ese bigote tan característico es fácilmente reconocible por grandes y chicos, aún en estos tiempos. Y sin embargo, poca gente ha visto sus películas. ¿Les parece increíble? hagan la prueba: pregunten a las personas que conocen si saben quién fue Charles Chaplin y después de la respuesta afirmativa, pregunten cuáles películas suyas han visto; esta segunda respuesta les sorprenderá. Ocurre lo mismo con varios íconos de Hollywood, como Marilyn Monroe por ejemplo, cuya imagen ha trascendido el tiempo y se ha convertido en un referente cultural en sí misma, desligada de su trabajo cinematográfico. Debido a ello, he sentido la necesidad de invitarles (y convencerles) a conocer el talento y el trabajo de uno de los grandes personajes de la industria del cine: Charles Chaplin y la mejor manera de hacerlo es trayéndoles esta película.

Póster Oficial

The Kid es una comedia romántica de 1.921 (¡tiene casi 100 años!) y uno de los clásicos del cine mudo. Para aquellos que no lo saben, las primeras cámaras de cine sólo grababan las imágenes, mas no el sonido, de manera que en las salas se proyectaba el video en la pantalla y debajo de ésta, una orquesta interpretaba la música que acompañaba la historia, pero no había diálogos entre los actores. Todo cambió en 1.927 cuando la Warner Bros produjo The Jazz singer, la primera película con sonido sincronizado. Pero volvamos, el año es 1.921 y Chaplin escribió, dirigió, protagonizó y compuso la música para esta joya cinematográfica. La historia comienza con una mujer pobre que acaba de tener un hijo siendo madre soltera. Ante esta difícil situación, con tristeza, la mujer decide abandonar al bebé con una nota en un automóvil lujoso que encuentra en una calle, con la esperanza de que una familia rica le de a su hijo la vida que ella no puede ofrecerle. Se trata de un momento sumamente emotivo y dramático que Chaplin suaviza (y refuerza) con su humor característico: unos delincuentes roban el auto y dejan al bebé abandonado en la esquina de un barrio pobre. Allí aparece la imagen familiar de un alegre, despreocupado e inocente vagabundo, quien lo encuentra y aunque al comienzo intenta eludir tamaña responsabilidad, finalmente se compadece de la criatura, guarda la nota y decide criarlo como suyo.

El niño y el vagabundo

El tiempo pasa y vamos al pequeño ya crecido, de unos cinco años, junto a su padre. La rutina sencilla y las precarias condiciones en las que viven es transformada por Chaplin en una secuencia de imágenes hilarantes que comunican la dureza de una vida difícil junto a la alegría de sacar el máximo provecho a lo poco que se tiene. Por su parte, la madre del niño se ha convertido en una famosa y rica actriz que suele ir a los suburbios a repartir juguetes entre los niños pobres, recordando al hijo que abandonó. En uno de esos paseos conoce a nuestro vagabundo y al niño con quienes conversa alegremente, hasta que la casualidad la golpea con una revelación: ve la nota que escribió al abandonar a su hijo y que el vagabundo ha conservado por tanto tiempo. Se trata de su hijo. Ahora que escribo esta entrada, sé por qué recordé esta película estos días. El viernes redacté un post sobre The light between oceans y en esa película se presenta una situación similar a la del vagabundo que no sabe si lo correcto es entregar el niño a su verdadera madre o mantenerlo como suyo. Creo que el haber enunciado ese conflicto moral en aquel post, trajo a mi subconsciente la imagen de la película que les comparto hoy. sin embargo, el final no es triste para el vagabundo porque es invitado a vivir con el niño y su madre en su lujosa casa.

Edna Pruviance

La Biblioteca del Congreso de Estados Unidos consideró esta cinta como «cultural, histórica y estéticamente significativa» y fue escogida para su preservación en el National Film Registry. Y es que, no sólo cuenta con una dirección pulida y un guión excelente en el que se suceden una serie de malentendidos, engaños y situaciones divertidas, sino que tuvo la participación de tres Actores con "A" mayúscula. Por supuesto, Chaplin hace un trabajo excelente encarnando su icónico vagabundo de risa expresiva y rostro taciturno (casi como de cachorro regañado), los movimientos, los gestos, la forma en que utiliza los objetos más sencillos que están presentes en la escena para crear una situación graciosa, todo es ejecutado con maestría; no por nada, influyó en generaciones posteriores de actores, sobre todo comediantes, de quienes un claro ejemplo es el mexicano Mario Moreno "Cantinflas". Pero además, lo de Edna Purviance como la Madre del chico y lo del niño Jackie Coogan también son ejemplos de antología en ese género. Al no contar con el apoyo sonoro y tener muy poco texto, todo debe concentrarse en la imagen, esto quiere decir que es necesario cierto histrionismo y una marcada gestualidad para lograr expresar, sin palabras, angustias, tristezas, alegrías. Y Chaplin era un maestro en ello, pero Purviance y Coogan también están a la altura de su Director, razón por la cual la actriz colaboró en casi treinta de sus películas.

Jackie Coogan
Todo esto hace de The Kid un 10/10 y una película clásica que creo que todo el mundo debería ver. Para conocer como era el cine en los albores de Hollywood, antes de los Oscars incluso, cuando no se contaba con la capacidad de sincronizar imagen y sonido; para admirar el trabajo atemporal de un hombre que logró crear obras propias de su tiempo, pero que han trascendido, mostrando una vigencia escalofriante hoy día; para disfrutar de una historia que combina muy bien las risas y las lágrimas, que resulta hilarante, pero también simpática y conmovedora; y también para poder responder ante la pregunta ¿Has visto alguna película de Chaplin? con un Sí, vi "The Kid", lo cual al menos es un comienzo, porque sé que no quedará allí. Ver una de sus películas, es querer ver otras y ese es lo que se persigue, recordar que antes de ser un ícono cultural, una estatua en las calles de Mérida, un fondo de pantalla, o unas frases en las redes sociales, Charles Chaplin fue un actor, productor, director, guionista y compositor. en una palabra: un genio.

Reseñado por @cristiancaicedo

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›🎬Movie Rating Contest #128: The Kid (2019) - GiveAway 100% of SBD( it's very easy to participate)💰@themovieplace2674d
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The Kid (2019) Movie Rating Contest

a Themovieplace original contest for the Steemit Community Participate, Win and Get Fun

Hello everyone, it is the time to announce the participants and the winners of the contest #123 and for those who want to participate in the new one which is the one with the #128. I recommend you to read the rules which are at the end of the article.

The participants and their options:

Greta (2018) will have on 03 March a rating between 6-5.1 @maarnio

Greta (2018) will have on 03 March a rating between 8-7.1 @kunschj

Greta (2018) will have on 03 March a rating between 9-8.1 @votum

Greta (2018) will have on 03 March a rating between 7-6.1 @richard78624 @sinlg

The winners of the contest #123 are @richard78624 and @sinlg, each will win 0.017 SBD from the total of 0.035 SBD. Don't forget, if this article becomes well-known the chances that the earnings will grow are bigger and if you want to participate in this you can Resteem the post or you can share it(is optional). I want to be as fair as possible to everyone and in every contest I offer you a screenshot from the movie to convince yourself of the final outcome of the contest #123.

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For the contest #128 which begins today, i chose the movie The Kid (2019) which is directed by Vincent D'Onofrio. The Kid (2019) have the first release date in 8 March in USA and the date which will count for our contest is 23 March. Let's take a look at some things that can help you to choose the correct rating for the contest :
- the director is Vincent D'Onofrio
- the cast contain names like Chris Pratt, Ethan Hawke, Vincent D'Onofrio, Dane DeHaan and others
Movie Trailer

Rules:
- You nead to upvote the post and also one of the comments from what I will put under the post which will indicate the rating for which you have opted for the movie The Kid (2019) for 23 March.
- if you want to participate you nead to upvote the post with a minimum of 10% from your upvote power and this is addressed to the members that have a big STEEM POWER, and if you are voting with a smaller percentage this will go to the winners and for the support of the article
- You are allowed to opt for one option only, who will opt for multiple options will be disqualified
- You have 7 days to submit your rating
The earnings will be sent on 23 March when I will announce the winners.

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›"The Kid" [Chaplin 1921] - movie review@mandibil3598d
There are two facts behind this movie that is worth mentioning. First of all, Chaplin had reached a point where he had as good as complete control of his movies and he wanted to go beyond the shorts he had been making until then. It took around a year to complete so it is clear that it was a statement he was aiming for. Secondly, in his private life he had just lost an infant son and he is in grief. "The Kid" is a very personal film i believe and i am sure many scenes are inspired by experiences in his own childhood and a fantasy about the caring father he never had. Fatherly love and wisdom is the gateway to life for a boy.

A mother is abandoned by the father of a child. She then abandons the child by dumping it in a rich mans car, but the car is stolen and the thieves dump the kid in the gutter in the slums. The tramp finds him and tries to figure out who has left it behind. But no one seems to be missing a child, so he decides to keep him for himself. The story develops around the tramps growing fatherly feelings for the boy, how the state tries to take him away and who the rightful "owner" of a child really is.

It is clear to me that he struggled with making this a "full length" movie. The fighting scene with the bad boy and his violent father and the angelic scenes feels too much like fillers to stretch the playing time. That said there are some really funny scenes here that are short and elegant in the fashion you expect from Chaplin. I particularly like the scene where he flirts with the woman, who´s window the kid and him have conspired to break and remake (a reference to the broken window fallacy?). He is not aware that the hand on his shoulder is her husbands and not hers. The kid is played by Jackie Coogan, and he is a natural talent. No wonder Chaplin choose him as the only actor ever to share the lead with him. But the scene that steels the whole movie is the chase after the orphanage officials truck over the roof tops and the reunion of father and child. The fantasy that one man can fight the state alone is very anarchic and it hits me deep. I have never watched this scene without getting a lump in my throat and blurry eyes. And much to my amazement, when i got the high-def blu-ray edition of the movie, i realized that Charlie himself has a tear in his eye, when he kisses and hugs the kid on the van. A truly remarkable scene for the time.

A point that is important to mention, is Chaplins relation to women, and mothers in particular. He is unable to give the mother here any responsibility for her actions. She actually abandons the child, when she is the only parent left. But then he reintroduces her into the story and makes her change her mind, when she has become rich and famous, and behave emphatically by showing her as charitable to poor kids. I suppose that that is another of Chaplins old fantasies about his mother. He wished she would become rich and famous and then have time and mental capacity to notice him. I am sure that Chaplins hesitation to give women responsibility, is based in his own mother´s denial of responsibility for chosing to give him a shitty father. Chaplin tries to fill out that father gap, while stepstoning over his mothers responsibilty.

This is Chaplins first venture into feature films and it sure is a great classic. He still has to find the perfect blend between, plot, story and gags and that is pretty much his job in the years to come. He IS the tramp. He cannot go anywhere else so this figure has to be molded into deeper and more interesting stories, while still staying the same. That is an incredible balancing act that he faces but he knows it is what he has to do.

rating: 9/10

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en español

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Mi calificación para esta película / My rating for this movie:

8.0 / 10.0

Reseñado por @cristiancaicedo

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