FILMS. 4th EDItION THE KID Sight and Sound (London), Autumn 1936 to change. Beloin ny of history the significance of the film was soon Through Monthly Film Bulletin (London), October 1936. um was, in fact, invaded by a less charming enemy Motion Picture Herald (New York), 3 October 1936 than the Spanish Duke. Collaboration soon became a very ugly word Today's Cinema. 15 October 1936. indeed. But time was on Feyder's side, and today his masterpiece Greene, Graham, in Spectator (London), 30 October 1936 secure in the annals of film histoy Hommage a Jacques Feyder, in Ecran Francais(Paris), 8 June 1948. Feyder Issue" of Cine-Club(Paris), 2 November 1948 Auriol, J -G, and Mario Verdone, ""L Art du costume dans le filr -Liam OLeary in Revue du Cinema(Paris), Autumn 1949 Sadoul, Georges, Jouvet et le cinema, in Lettres francaise Paris), 25 August 1961 THE KID Avant-Scene du Cinema(Paris), May 1963 Skrien(Amsterdam ), December 1977 USA Dossier on Jacques Feyder, in Cahiers de la Cinematheque(Perpignan), no 40. Summer 1984 Director: Charles Chaplin Biro, G, in Filmkultura(Budapest), March 1985 Virmaux, Alain,“D’ Alfred machin a cinema belge(annees 1910-1930)(musee d'Orsay, mars-avril Production: Charles Chaplin Productions for First National; black 1997).in Jeme Cinema(Paris), no. 245, September-Octo- 6 reels.5300 feet. released 6 februarv 1921 Producer: Charles Chaplin; screenplay: Charles Chaplin; photog- raphy: Rollie Totheroh Jacques Feyder had already made two sound films in France; his creative skills were by no means diminished by the new dimension. Cast: Jackie Coogan(The Kid): Edna Purviance (The Woman); Carl His successful collaboration with Charles Spaak was to further Miller(The Man); Charles Chaplin(The Tramp); Tom Wilson(The oduce one of the wittiest, most colourful and amusing comedies to Policeman); Chuck Reisner (The Bully ); Thelbert Theustin(The each the screen, La kermesse heroique. Taking as his subject the Crook); Nellie Bly Baker(Slum Woman); Henry Ber period of the great Renaissance of Flemish painting and the le for of lodging house ) Lita Grey (Flirting angel) happy era of Spanish domination, Feyder made a major contribution to"women's lib. The film satirizes political, religious, and moral pretentiousness, and the men come off second best when a strong minded and realistic woman encounters a tricky diplomatic situation. Publications The little town of Booms fussy Burgomaster and his officials cannot cope with the threat to their town when the news comes of the Books approach of the Spanish army under the command of a Duke Cornelia, the Burgomaster's wife, has a plan. The Burgomaster will Tyler, Parker, Chaplin, Last of the Clowns, New York, 1947 pretend to be dead, and she will receive the Duke and hope that in the Huff, Theodore, Charlie Chaplin, New York, 1951 ad circumstances he will be gentleman enough not to overstay Bessy, Maurice, and Robert Florey, Monsieur Chaplin; ou, Le rire leave. The possibilities for comedy are wide open dans la Paris. 1952 From this situation Feyder fashioned a film full of sly and subtle Sadoul, Georges, Vie de Charlot, Paris, 1952 comment on human foibles, designed with lavish elegance, at Leprohon, Pierre, Charlot, Paris, 1957; revised edition, 1970 times a feast for the eye. Feyder, himself a Belgian, created a monu- Mitry, Jean, Charlot et la fabulation chaplinesque, Paris, 1957 ment to the great visual artists of his country. The film was a crown jewel in the great flowering of the French cinema of the 1930s. The Amengual, Barthelemy, Charles Chaplin, Paris, 1963 designs of lazare Meerson and the costumes of benda come alive Chaplin, Charles, My Autobiography, London, 1964 th the superb acting Feyder extracts from his players. The subtle McDonald, Gerald, and others, The Films of Charlie Chaplin, Secaucus, and delicate humour, the gentle implications of the dialogue New Jersey, 1965 epitomized in the sly performance of Louis Jouvet as the Duke's Martin, Marcel, Charlie Chaplin, Paris, 1966; third edition, 1983 haplain. Needless to say, the Flemish ladies thoroughly enjoy the McCaffrey, Donald, editor, Focus on Chaplin, Englewood Cliffs elegant manners of the Spaniards while their menfolk look helplessly New Jersey, 1971 on There is a little sadness in the air as the duke and his army leave. Mitry, Jean, Tour Chaplin: Tous les films, par le texte. par le gag, et One feels life in the little town of boom will be the same again. image, Paris, 1972. In making this film, of course Feyder trod on the toes of his fellow Chaplin, Charles, My Life in Pictures, London, 1974 countrymen. The reaction was much like that of the Irish to The Manvell, Roger, Chaplin, Boston, 1974 Playboy of the Western World and chauvinistic sensibilities were not Moss, Robert, Charlie Chaplin, New York, 1975 easily smoothed. But the success of the film was universal, and Sobel, Raoul, and David Francis, Chaplin: Genesis of a Clown, Feyder was established as a great director.FILMS, 4 THE KID th EDITION 629 Sight and Sound (London), Autumn 1936. Monthly Film Bulletin (London), October 1936. Motion Picture Herald (New York), 3 October 1936. Today’s Cinema, 15 October 1936. Greene, Graham, in Spectator (London), 30 October 1936. ‘‘Hommage a Jacques Feyder,’’ in Ecran Français (Paris), 8 June 1948. ‘‘Feyder Issue’’ of Ciné-Club (Paris), 2 November 1948. Auriol, J.-G., and Mario Verdone, ‘‘L’Art du costume dans le film,’’ in Revue du Cinéma (Paris), Autumn 1949. Today’s Cinema, 31 December 1952. Sadoul, Georges, ‘‘Jouvet et le cinema,’’ in Lettres Françaises (Paris), 25 August 1961. Avant-Scène du Cinéma (Paris), May 1963. Skrien (Amsterdam), December 1977. Dossier on Jacques Feyder, in Cahiers de la Cinémathèque (Perpignan), no. 40, Summer 1984. Bíró, G., in Filmkultura (Budapest), March 1985. Virmaux, Alain, ‘‘D’Alfred Machin à Jacques Feyder: Débuts du cinéma belge (années 1910–1930) (musée d’Orsay, mars-avril 1997),’’ in Jeune Cinéma (Paris), no. 245, September-Octo￾ber 1997. *** Jacques Feyder had already made two sound films in France; his creative skills were by no means diminished by the new dimension. His successful collaboration with Charles Spaak was to further produce one of the wittiest, most colourful and amusing comedies to reach the screen, La kermesse héroïque. Taking as his subject the period of the great Renaissance of Flemish painting and the less happy era of Spanish domination, Feyder made a major contribution to ‘‘women’s lib.’’ The film satirizes political, religious, and moral pretentiousness, and the men come off second best when a strong￾minded and realistic woman encounters a tricky diplomatic situation. The little town of Boom’s fussy Burgomaster and his officials cannot cope with the threat to their town when the news comes of the approach of the Spanish army under the command of a Duke. Cornelia, the Burgomaster’s wife, has a plan. The Burgomaster will pretend to be dead, and she will receive the Duke and hope that in the sad circumstances he will be gentleman enough not to overstay his leave. The possibilities for comedy are wide open. From this situation Feyder fashioned a film full of sly and subtle comment on human foibles, designed with lavish elegance, at all times a feast for the eye. Feyder, himself a Belgian, created a monu￾ment to the great visual artists of his country. The film was a crowning jewel in the great flowering of the French cinema of the 1930s. The designs of Lazare Meerson and the costumes of Benda come alive with the superb acting Feyder extracts from his players. The subtle and delicate humour, the gentle implications of the dialogue, are epitomized in the sly performance of Louis Jouvet as the Duke’s chaplain. Needless to say, the Flemish ladies thoroughly enjoy the elegant manners of the Spaniards while their menfolk look helplessly on. There is a little sadness in the air as the Duke and his army leave. One feels life in the little town of Boom will never be the same again. In making this film, of course Feyder trod on the toes of his fellow countrymen. The reaction was much like that of the Irish to The Playboy of the Western World and chauvinistic sensibilities were not easily smoothed. But the success of the film was universal, and Feyder was established as a great director. Through an irony of history the significance of the film was soon to change. Belgium was, in fact, invaded by a less charming enemy than the Spanish Duke. Collaboration soon became a very ugly word indeed. But time was on Feyder’s side, and today his masterpiece is secure in the annals of film history. —Liam O’Leary THE KID USA, 1921 Director: Charles Chaplin Production: Charles Chaplin Productions for First National; black and white, 35mm, silent; running time: about 52 minutes; length: 6 reels, 5300 feet. Released 6 February 1921. Producer: Charles Chaplin; screenplay: Charles Chaplin; photog￾raphy: Rollie Totheroh. Cast: Jackie Coogan (The Kid); Edna Purviance (The Woman); Carl Miller (The Man); Charles Chaplin (The Tramp); Tom Wilson (The Policeman); Chuck Reisner (The Bully); Thelbert Theustin (The Crook); Nellie Bly Baker (Slum Woman); Henry Bergman (Proprie￾tor of lodging house); Lita Grey (Flirting angel). Publications Books: Tyler, Parker, Chaplin, Last of the Clowns, New York, 1947. Huff, Theodore, Charlie Chaplin, New York, 1951. Bessy, Maurice, and Robert Florey, Monsieur Chaplin; ou, Le Rire dans la nuit, Paris, 1952. Sadoul, Georges, Vie de Charlot, Paris, 1952. Leprohon, Pierre, Charlot, Paris, 1957; revised edition, 1970. Mitry, Jean, Charlot et la fabulation chaplinesque, Paris, 1957. Amengual, Barthélemy, Charles Chaplin, Paris, 1963. Chaplin, Charles, My Autobiography, London, 1964. McDonald, Gerald, and others, The Films of Charlie Chaplin, Secaucus, New Jersey, 1965. Martin, Marcel, Charlie Chaplin, Paris, 1966; third edition, 1983. McCaffrey, Donald, editor, Focus on Chaplin, Englewood Cliffs, New Jersey, 1971. Mitry, Jean, Tout Chaplin: Tous les films, par le texte, par le gag, et par l’image, Paris, 1972. Chaplin, Charles, My Life in Pictures, London, 1974. Manvell, Roger, Chaplin, Boston, 1974. Moss, Robert, Charlie Chaplin, New York, 1975. Sobel, Raoul, and David Francis, Chaplin: Genesis of a Clown, London, 1977