The Washington herald., 1921-02-14
CrandaII's decentralization
Chaplin.

The Kid" in which Charlie Chap
lin was screened for the first time
in Washington at Crandsll's Metro
politan Theater yesterday. is unlike
any previous comedy in which the
famous funmaker has been seen
Not only is IL six full reels in length
three times as long as his accus-
toned vehicle-but 1t frequently
partakes of a quality OF tenderness
not associated in the public mind
with the laughable buffoonery of a
comedian.
The effect is one that will reha-
bilitate Chaplin in the hearts Of the
public despite his long absence from
the screen and place upon him in
the minds of discriminating lovers
of unusual pictures the stamp Of
genuine greatness.
In The Kid" which he wrote and
directed himself, Chaplin has told
the story of a young girl whose sin
was motherhood and whose child,
through force Of circumstances had
to be abandoned, and the more ap-
pealing life history of the little out
cast up to the mature age OF 6. The
success of the pictured narrative is
contingent quite as much upon the
proficiency of the juvenile actor who
appears in the title role as upon the
Known skill of the star in register
ing amusingly before the camera
Jackie Coogan fills the bill to the
letter. No Older than the character
in the play, he performs with the
confidence and humorous sense OF a
veteran, and by every right divides
honOrs with his distinguished men
tor.
The Introductory scenes Of the
comedy bear few Of the hallmarks
OF a Chaplin farce. They are OF a
sufficiently dignified and impressive
character TO permit the introduction
OF view OF the Savior bearing the
cross up Calvary without a jarrinR
note upon the finer sensibslities OF
the spectator After the deserted
baby has been left in the corner OF
an alley in the slums by the thieves
who stole the limousine in which il
had been left, and rescued from its
pitifUl plight by the tatterdemaIion
Of the tenements impersonated by
the pictures star, the action be
comes as brisk as one has learned
~ tAbFNl III NllN AlloIt pE teelNN OA
the Chaplin comedies. To the IA
miliar tricks of gesture, walk and
gymnastics, Chaplin has added
many sidelights Of illuminating
value and distinct originality.
There is lacking no essential OF
low comedy that any OF his earlier
pictures ever possessed. There is
added TO their sheer bUrlesque,
however. an undercurrent OF seri-
BUSINESS that commands respectful
interest. The development Of the
story never becomes lost in the
maze OF absurdities with which its
star embelIishes It: a guardians de-
votion to his charge and a baby s
love for his Daddy are constantly
stressed by bits OF byplay that scars
far above travesty throughout the
action Of the six reels Without
sacrificing the opportunity to do
those things which millions have
demonstrated they expect him 10 90
Chaplin has in The Kid" attained
the level Of real drama.
As has been intimated. much Of
the effectiveness Of the pivotal
scenes is due to the remarkable
preCOCiousness OF little Jackie Coo
gan. This exceptional younEster
succeeds quite as well in conveying
the impression Of terror and Erier
that spring from chidhood's traC-
edies as he does in arousinE roars
Of laughter by flashes Of an in
stinctive sense Of comedy that is
as keen as his more experienced CO.
stars Edna Purviance and others
Of note in the most numerous cast
ever seen in Chaplin's support con-
tribute generously to the appeal OF
this unique feature.
In point Of production. The Kid"
far sUrpasses any OF the shorter
vehicles in which its author-dIrec-
lot has been filmed. Its photo
graphic effects also are noteworthy
and its continuity excellent. The
deftneSs with which convulsinC
comedy and serious drama are al
ternsted gives the subject an un-
broken hold upon the interest and
effeCtually preCludes even the re
mOtest suggestion Of monot0ny.
The bill for the week is com
0leted by the customary short-rea'
subjects and delightful musical
| features including an ovcrtur,
number Of selections from "Th.
Half Moon"