Newsgroup: it.arti.cinema
Titolo: CERCO MATERIALE SUL MONELLO DI CHAPLIN

Aiuto ! Cerco critiche e recensioni di qualsiasi tipo su "The Kid - Il =
Monello" di Charlie Chaplin, ma trovo poco o niente ! Se qualcuno puo' =
aiutarmi gliene sarei grato !    :-)
                        Lucky
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2° parte.
-- 
Ciao.
Davide,,,,
"Su', avanti, all'attacco... non vorrete mica vivere per sempre?"
Sergente americano della seconda guerra mondiale.
Visitate il sito del NewsGroup it.arti.cinema :
http://www.geocities.com/Hollywood/Lot/6929/
The Kid
US (1921): Comedy/Drama
Cast List
60 min, No rating, Black & White, Available on videocassette and laserdisc
Charles Chaplin	Tramp
Edna Purviance	Mother
Jackie Coogan	The Kid
Baby Hathaway	The Kid as a Baby
Carl Miller	Artist
Granville Redmond	His Friend
May White	Policeman's Wife
Tom Wilson	Policeman
Henry Bergman	Night Shelter Keeper
Charles Riesner	Bully
Raymond Lee	His Kid Brother
Lita Grey	Flirtatious Angel
Edith Wilson	Lady with Pram
Baby Wilson	Baby in Pram
Nellie Bly Baker	Slum Nurse
Albert Austin	Man in Shelter
Jack Coogan, Sr.	Pickpocket/Guest/Devil
Edgar Sherrod	Priest
Beulah Bains	Bride
Robert Dunbar	Bridegroom
Kitty Bradbury	Bride's Mother
Rupert Franklin	Bride's Father
Flora Howard	Bridesmaid
Elsie Sindora	Bridesmaid
Walter Lynch	Tough Cop
Dan Dillon	Bum
Jules Hanft	Physician
Silas Wilcox	Cop
Kathleen Kay	Maid
Minnie Stearns	Fierce Woman
Frank Campeau	Welfare Officer
F. Blinn	His Assistant
John McKinnon	Chief of Police
Elsie YoungV. MadisonEvans QuirkBliss ChevalierGrace KellerIrene
JenningsFlorette FaulknerMartha HallEstelle CookJ. B. RussellLillian
CraneSarah KernanPhilip D'OenchCharles I. Pierce	Extras in Wedding Scene
Elsie CoddMother VinotLouise HathawayAmada Yanez and Baby	Extras in Alley
Scene
Clyde McAteeFrank HaleEd HuntFrances CochranGeorge Sheldon	Extras in
Reception Scene
Sadie GordonLaura PollardL. ParkerEthel O'NeilL. JenksEsther RalstonHerny
Roser	Extras in Heaven Scene
The Kid
US (1921): Comedy/Drama
Production Credits
60 min, No rating, Black & White, Available on videocassette and laserdisc
Producer	Charles Chaplin
Director	Charles Chaplin
Screenwriter	Charles Chaplin
Cinematographer	Roland H. Totheroh
 
 

Aiuto ! Cerco critiche e recensioni di qualsiasi tipo su "The Kid - Il
Monello" di Charlie Chaplin, ma trovo poco o niente ! Se qualcuno puo'
aiutarmi gliene sarei grato !    :-)
Ti mando tutto quello che ho trovato su Ciemania
-- 
Ciao.
Davide,,,,
"Su', avanti, all'attacco... non vorrete mica vivere per sempre?"
Sergente americano della seconda guerra mondiale.
Visitate il sito del NewsGroup it.arti.cinema :
http://www.geocities.com/Hollywood/Lot/6929/
The Kid
US (1921): Comedy/Drama
Leonard Maltin Review: 3.5 stars out of 4
60 min, No rating, Black & White, Available on videocassette and laserdisc
Director
Charles Chaplin
Cast Includes
Charlie Chaplin	Jack (Jackie) Coogan
Edna Purviance	Chuck Reisner
Lita Grey
Review
Chaplin's first real feature mixes slapstick and sentiment in a winning
combination, as the Tramp raises a streetwise orphan. Wonderful film
launched Coogan as major child star, and it's easy to see why.
 
 
The Kid
US (1921): Comedy/Drama
Pauline Kael Review
60 min, No rating, Black & White, Available on videocassette and laserdisc
The most enchantingly Victorian of Chaplin's features, and perhaps because
of the way his sentimentality (which was often awkward, and even mawkish,
later) fits the subject, this film seems remarkably innocent and pure. Edna
Purviance is the destitute young mother who abandons her infant; Chaplin,
the tramp, takes the child to his garret, and five years later the child
(Jackie Coogan) smashes windows, which Chaplin, now a glazier and wearing
glass on his back like angel wings, repairs. The story is about the love
between these two street waifs and about Chaplin's fight to keep the child
out of the hands of the authorities. A little girl named Lita Grey (known
as Lolita), later to be Chaplin's wife, appears in a dream sequence set in
Heaven. Silent. 
 
 
The Kid
US (1921): Comedy/Drama
CineBooks' Motion Picture Guide Review: 5.0 stars out of 5
60 min, No rating, Black & White, Available on videocassette and laserdisc
"A Picture With A Smile And Perhaps A Tear" read the opening title, but THE
KID is much more than this sentimental opening implies. With this film, the
first feature length work he wrote and directed, Sir Charles Chaplin more
fully realized the intimations of pathos he had injected into such shorts
as EASY STREET (1917) and THE IMMIGRANT (1917) without sacrificing a bit of
humor.  
	Synopsis
An abandoned child. The story opens with an unwed mother (Edna Purviance)
leaving the hospital with her newborn son. She passes the wedding of a
young and clearly unhappy bride to an older, well-off man. A flower falls
from the bride's bouquet and the groom, unknowingly, crushes it with his
foot. The mother realizes she can't give her child the care he needs, so
she pins a note to him and places the infant in the back seat of a fancy
car (in actuality the automobile used had been loaned to Chaplin by its
owner, D.W. Griffith).  
A new home. A pair of thieves grab the car but soon discover the unwanted
cargo. Rather than risk kidnapping charges, they stop the auto in nearby
slums and leave the baby in a back alley. Along comes Chaplin out on a
stroll, who finds the baby. At first he tries to place it in another baby
carriage, but after staving off blows from a lady (Edith Wilson) Chaplin
takes back the baby. He raises the eyebrows of a cop in his efforts to rid
himself of the child but then finds the note and decides to raise the boy
himself.  
Meanwhile, the mother has had a change of heart but is shocked when she
discovers the automobile stolen. Chaplin sets up his simple flat as a
nursery, improvising a baby bottle with a coffee pot and nipple, while
cutting out diapers from a sheet.  
Family threatened. Five years pass, and the child (Jackie Coogan) has
become a thriving partner in Chaplin's window repairing business. The child
throws rocks through someone's window and Chaplin knocks on the door
offering to repair the broken pane.  
In the meanwhile the mother has become a well-known singer. She does
volunteer work in the slums and one day meets the boy, not realizing the
youngster is her own child. After the boy gets into a fight, the mother
urges Chaplin, believing him to be the boy's father, to have a doctor take
a look at the child. The doctor, a complete incompetent, learns that
Chaplin found the child in the streets and arranges for the proper
authorities to take the boy away. The tearful boy is driven away in a truck
Chaplin gives a rooftop pursuit and catches up with the vehicle. They are
reunited in an emotional embrace and seek refuge.  
Meanwhile, the doctor shows the mother a note Chaplin gave him and the
singer recognizes it as the note she had written five years ago. She puts
an ad in the paper offering a reward for the boy's return. Chaplin and the
boy attempt to hide out in a flophouse, but since the Tramp can only afford
to pay for one of them, he sneaks the boy in. The proprietor recognizes the
boy's description from the paper and takes the boy while Chaplin is
sleeping.  
Reunion. In the morning Chaplin is heartsick to find the boy missing and
begins a vain search for the boy. Worn out from his efforts, Chaplin falls
asleep in a doorway and dreams of life in Heaven. He finds himself rudely
awakened by a cop, but instead of arrest he is taken to the mother's home.
The boy leaps into the Tramp's arms and together they go into the house. 
	Critique
A daring experiment. THE KID is not just a beautifully told dramatic
comedy, it is a daring experiment in structure by Chaplin that succeeds on
every level. Unlike his slapstick shorts, which emphasized slapstick for
laughs, Chaplin here builds the humor on smaller moments of character and
situation. What's more, each moment of comedy, such as Chaplin's attempts
to get rid of the unwanted infant and the flophouse confrontations between
Chaplin and a pickpocket, are funny bits built on genuinely serious
premises. 
This film proved to be a turning point in Chaplin's work that pointed him
towards a continual exploration of the serious and the funny within his
feature films. Though other short comedies followed, THE KID clearly
established Chaplin with both the public and filmmaking community as an
artist who understood the delicate balance between comedy and drama. 
	Background
Fast friends. THE KID was a resounding success for Chaplin and made Coogan
the biggest child star of the 1920s. The chemistry between Chaplin and
Coogan is genuine on screen because it was merely an extension of their
off-screen relationship. 
Chaplin had just completed SUNNYSIDE (1919), a two-reel comedy, and had
gone into a depression following the death of his newborn son who had
suffered from severe birth defects. He had been working on a comedy
tentatively titled CHARLIE'S PICNIC when he took in an evening of
vaudeville. Watching Jack Coogan, a comic dancer performing with his little
boy, Chaplin was immediately taken with the son, Jackie. He saw enormous
potential for this bright, talented boy and without signing him began
planning a film around the child. Chaplin's hopes were nearly dashed when
he learned that Roscoe "Fatty" Arbuckle had signed Jack Coogan but he was
relieved to learn it was the father the rotund comedian had put under
contract. Once filming began, Chaplin was amazed at Coogan's abilities. For
their emotional separation scene, Coogan's father attempted to induce tears
in his son by threatening to send him off to a workhouse. A concerned
Chaplin took Coogan aside after the shooting was over to assure the boy
this would never happen, but through his tears the youngster surprised his
older friend with a seasoned reply, "I knew Daddy was fooling."  
The man and boy became fast friends with a mutual respect that would last
throughout their lives. In fact, years later, Chaplin returned to America
after his exile in Switzerland, and the two were reunited after a
fifty-year separation. Coogan, who then was best known as "Uncle Fester" on
television's "The Addams Family," met with Chaplin in a tearful real-life
reunion, and Chaplin took Coogan's wife aside and told her "You must never
forget. Your husband is a genius."  
The dream sequence. The film's dream sequence remains one of the most
charming moments Chaplin ever devised. Chaplin's vision of Heaven is not
grandiose but a simple picture of a happier life for the poor man. The
director showed a clear understanding of his character and his world, never
straying beyond the hopes and needs of the Tramp. 
In the dream, slum is transformed into a clean, happy place with the film's
principals—including the local bully and Chaplin's nemesis, the
cop—appearing as winged angels. Man and boy are reunited with all seemingly
blissful until the Devil (played by Coogan's father) comes to upset things.
He tempts Chaplin with a girl (Lita Grey), which raises the bully's ire
since she's his girlfriend. The bully shoots Chaplin, and Coogan, crying
over his friend's body, tries to shake the Tramp awake. The scene dissolves
into reality with the cop shaking the sleeping Chaplin from his slumber. 
Lita Grey was only twelve years old when she appeared as the flirtatious
angel who causes Chaplin's troubles in the dream sequence. Chaplin had been
captivated by the girl's looks after being introduced to her by an
assistant who was a neighbor of McMurray's mother. Four years later, under
the name Lita Grey, this girl became Chaplin's second wife in what would
prove to be a bitter union for both. Grey claimed to be the inspiration for
the Heaven sequence, though that point is debatable.  
Final production. Getting THE KID edited proved to be quite a task.
Chaplin's business associates at First National sided with his wife,
Mildred Harris, in an ongoing divorce suit. Among Chaplin's assets the
company wanted to control in this suit were included the film's negative.
With the collaboration of his creative associates, Chaplin snuck the
negative (some 400,000 feet in 12 crates) out of California to Salt Lake
City. A cutting room was set up in Chaplin's hotel room despite the fire
hazard the nitrate film posed. After a test showing, the film was taken to
an empty New Jersey studio and under the guise "Blue Moon Film Company" the
final editing took place.
 
 
The Kid
US (1921): Comedy/Drama
CineBooks' Motion Picture Guide Review: 5.0 stars out of 5
60 min, No rating, Black & White, Available on videocassette and laserdisc
"A Picture With A Smile And Perhaps A Tear" read the opening title, but THE
KID is much more than this sentimental opening implies. With this film, the
first feature length work he wrote and directed, Sir Charles Chaplin more
fully realized the intimations of pathos he had injected into such shorts
as EASY STREET (1917) and THE IMMIGRANT (1917) without sacrificing a bit of
humor.  
	Synopsis
An abandoned child. The story opens with an unwed mother (Edna Purviance)
leaving the hospital with her newborn son. She passes the wedding of a
young and clearly unhappy bride to an older, well-off man. A flower falls
from the bride's bouquet and the groom, unknowingly, crushes it with his
foot. The mother realizes she can't give her child the care he needs, so
she pins a note to him and places the infant in the back seat of a fancy
car (in actuality the automobile used had been loaned to Chaplin by its
owner, D.W. Griffith).  
A new home. A pair of thieves grab the car but soon discover the unwanted
cargo. Rather than risk kidnapping charges, they stop the auto in nearby
slums and leave the baby in a back alley. Along comes Chaplin out on a
stroll, who finds the baby. At first he tries to place it in another baby
carriage, but after staving off blows from a lady (Edith Wilson) Chaplin
takes back the baby. He raises the eyebrows of a cop in his efforts to rid
himself of the child but then finds the note and decides to raise the boy
himself.  
Meanwhile, the mother has had a change of heart but is shocked when she
discovers the automobile stolen. Chaplin sets up his simple flat as a
nursery, improvising a baby bottle with a coffee pot and nipple, while
cutting out diapers from a sheet.  
Family threatened. Five years pass, and the child (Jackie Coogan) has
become a thriving partner in Chaplin's window repairing business. The child
throws rocks through someone's window and Chaplin knocks on the door
offering to repair the broken pane.  
In the meanwhile the mother has become a well-known singer. She does
volunteer work in the slums and one day meets the boy, not realizing the
youngster is her own child. After the boy gets into a fight, the mother
urges Chaplin, believing him to be the boy's father, to have a doctor take
a look at the child. The doctor, a complete incompetent, learns that
Chaplin found the child in the streets and arranges for the proper
authorities to take the boy away. The tearful boy is driven away in a truck
Chaplin gives a rooftop pursuit and catches up with the vehicle. They are
reunited in an emotional embrace and seek refuge.  
Meanwhile, the doctor shows the mother a note Chaplin gave him and the
singer recognizes it as the note she had written five years ago. She puts
an ad in the paper offering a reward for the boy's return. Chaplin and the
boy attempt to hide out in a flophouse, but since the Tramp can only afford
to pay for one of them, he sneaks the boy in. The proprietor recognizes the
boy's description from the paper and takes the boy while Chaplin is
sleeping.  
Reunion. In the morning Chaplin is heartsick to find the boy missing and
begins a vain search for the boy. Worn out from his efforts, Chaplin falls
asleep in a doorway and dreams of life in Heaven. He finds himself rudely
awakened by a cop, but instead of arrest he is taken to the mother's home.
The boy leaps into the Tramp's arms and together they go into the house. 
	Critique
A daring experiment. THE KID is not just a beautifully told dramatic
comedy, it is a daring experiment in structure by Chaplin that succeeds on
every level. Unlike his slapstick shorts, which emphasized slapstick for
laughs, Chaplin here builds the humor on smaller moments of character and
situation. What's more, each moment of comedy, such as Chaplin's attempts
to get rid of the unwanted infant and the flophouse confrontations between
Chaplin and a pickpocket, are funny bits built on genuinely serious
premises. 
This film proved to be a turning point in Chaplin's work that pointed him
towards a continual exploration of the serious and the funny within his
feature films. Though other short comedies followed, THE KID clearly
established Chaplin with both the public and filmmaking community as an
artist who understood the delicate balance between comedy and drama. 
	Background
Fast friends. THE KID was a resounding success for Chaplin and made Coogan
the biggest child star of the 1920s. The chemistry between Chaplin and
Coogan is genuine on screen because it was merely an extension of their
off-screen relationship. 
Chaplin had just completed SUNNYSIDE (1919), a two-reel comedy, and had
gone into a depression following the death of his newborn son who had
suffered from severe birth defects. He had been working on a comedy
tentatively titled CHARLIE'S PICNIC when he took in an evening of
vaudeville. Watching Jack Coogan, a comic dancer performing with his little
boy, Chaplin was immediately taken with the son, Jackie. He saw enormous
potential for this bright, talented boy and without signing him began
planning a film around the child. Chaplin's hopes were nearly dashed when
he learned that Roscoe "Fatty" Arbuckle had signed Jack Coogan but he was
relieved to learn it was the father the rotund comedian had put under
contract. Once filming began, Chaplin was amazed at Coogan's abilities. For
their emotional separation scene, Coogan's father attempted to induce tears
in his son by threatening to send him off to a workhouse. A concerned
Chaplin took Coogan aside after the shooting was over to assure the boy
this would never happen, but through his tears the youngster surprised his
older friend with a seasoned reply, "I knew Daddy was fooling."  
The man and boy became fast friends with a mutual respect that would last
throughout their lives. In fact, years later, Chaplin returned to America
after his exile in Switzerland, and the two were reunited after a
fifty-year separation. Coogan, who then was best known as "Uncle Fester" on
television's "The Addams Family," met with Chaplin in a tearful real-life
reunion, and Chaplin took Coogan's wife aside and told her "You must never
forget. Your husband is a genius."  
The dream sequence. The film's dream sequence remains one of the most
charming moments Chaplin ever devised. Chaplin's vision of Heaven is not
grandiose but a simple picture of a happier life for the poor man. The
director showed a clear understanding of his character and his world, never
straying beyond the hopes and needs of the Tramp. 
In the dream, slum is transformed into a clean, happy place with the film's
principals—including the local bully and Chaplin's nemesis, the
cop—appearing as winged angels. Man and boy are reunited with all seemingly
blissful until the Devil (played by Coogan's father) comes to upset things.
He tempts Chaplin with a girl (Lita Grey), which raises the bully's ire
since she's his girlfriend. The bully shoots Chaplin, and Coogan, crying
over his friend's body, tries to shake the Tramp awake. The scene dissolves
into reality with the cop shaking the sleeping Chaplin from his slumber. 
Lita Grey was only twelve years old when she appeared as the flirtatious
angel who causes Chaplin's troubles in the dream sequence. Chaplin had been
captivated by the girl's looks after being introduced to her by an
assistant who was a neighbor of McMurray's mother. Four years later, under
the name Lita Grey, this girl became Chaplin's second wife in what would
prove to be a bitter union for both. Grey claimed to be the inspiration for
the Heaven sequence, though that point is debatable.  
Final production. Getting THE KID edited proved to be quite a task.
Chaplin's business associates at First National sided with his wife,
Mildred Harris, in an ongoing divorce suit. Among Chaplin's assets the
company wanted to control in this suit were included the film's negative.
With the collaboration of his creative associates, Chaplin snuck the
negative (some 400,000 feet in 12 crates) out of California to Salt Lake
City. A cutting room was set up in Chaplin's hotel room despite the fire
hazard the nitrate film posed. After a test showing, the film was taken to
an empty New Jersey studio and under the guise "Blue Moon Film Company" the
final editing took place.
 
  CONTINUA...