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daylight "boosted," now and then, by a few banks of lights. No use was made of backlighting, by now commonplace in Hollywood, leaving some of the interiors flat in appearance. On the other hand the dissolve from the sleeping tramp to the "heaven" scene is perfect, the actor not appearing to move an inch while the scene changes around him.
"The Kid" also had the distinction of criticism from one of the immortals of our time. When Chaplin met James M. Barrie, the noted novelist and playwright declared the "heaven" scene superfluous (did he feel the flying scenes invasions of his territory?). He also considered the footage allotted to the mother and to her meeting with the father, excessive. Chaplin, understanding that Barrie was paying him a subtle compliment by his severely critical discussion of dramatic construction with him, was flattered by his interest. But he was not too overawed to disagree, and argued his reasons for including those scenes.
Whatever minor faults it may possess, "The Kid" remains one of Chaplin's masterworks and one of the best remembered and most loved of all motion pictures.
"The Kid" opens with the Woman ("Her only sin was motherhood") leaving a charity hospital with her baby in her arms. A nurse smiles cynically as an attendant shuts the gates. The Man, an artist, is shown in his studio. Studying his painting he carelessly knocks a small photograph of the Woman off the mantelpiece into the fire.
Wandering about aimlessly the distraught mother stops at a church, watching a sad young bride descend with an elderly husband. Stopping at a handsome limousine she scribbles a note, "Please love and care for this infant child," leaves the baby in the back seat and hurries