Compared with the current popular version, the original edited version in 1921 added the following scenes:
Edna wandered around in the wealthy area and saw the old couple getting married from a wealthy family, paving the way for the idea of abandoning the child to a wealthy person for adoption later;
Added that after Edna abandoned her son, she felt very cute when she met other children, and regretted it and went back to find the child;
After becoming famous as a painter, he reunited with Ena at a banquet in the upper class and offered to make amends. Ena replied, "It's too late, unless the child is still there..."
These few clips are obviously that Chaplin later felt that they affected the main line. At the same time, the constant back-and-forth editing in the first few minutes of the title was relatively fragmented, and then they were all deleted. But it is still very precious and interesting to look at it carefully now - the father of the child who was scolded by the audience as a "scumbag", this painter has finally become famous, and has been a little whitewashed. It also seems to mean that our homeless may still face a tragic end in the end - raising children for others for 5 years, and finally bringing their family of three together. Although the painter does not appear at the end of the film, this possibility is obviously higher than that of Erna and the tramp living together.
The story of the painter and the girl in "Finding a Son and Encountering a Fairy" obviously has the prototype of the later "A Woman in Paris" (still played by Erna and Karl Miller). The comparison of these two films is quite interesting, almost It is a parallel space-time.
For more, see "A Woman in Paris": Edna and Carl Miller "Reconnect"
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