The Kid

If there’s a film that beautifully captures the notion of an “inner child,” it is the 2000 comedy Disney’s The Kid. There is a simplicity to the story which is a kind of morality play against the materialistic and self-centered modern mindset. However, without losing its lighthearted comedic tone, the film goes deeper and explores the psychological effects of childhood trauma and offers several moving scenes portraying the therapeutic value of working with one’s inner child.

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At times when I’ve had to explain parts work to someone unfamiliar with the concept of “parts,” I often begin with the notion of an inner child. Authors such as John Bradshaw and Charles Whitfield popularized this concept in the 80’s and 90’s so for many the idea is not altogether unfamiliar. I think of inner child work as a possible gateway for many people as they discover the complexity of their inner world.

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Disney’s The Kid uses magical realism to bring the concept of an inner child to life. The main character, Russ Duritz, played by Bruce Willis, is a self-absorbed pompous, condescending wealthy California image consultant who is visited by his younger self on the eve of his 40th birthday. This nearly 8-year-old inner child, played by Spencer Breslin, is dismayed to find out his older self does not fly jets, has no wife, no kids, no friends, not even a dog. Together they learn that they must work on unresolved past trauma to have a fulfilling life.

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SPOILERS AHEAD!

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The film opens with a red plane in the sky which symbolizes freedom, growth, and embracing life in all its fullness.

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Early on we discover that the protagonist, Russ, has issues with his elderly father who has trouble getting an appointment with his busy son. When Russ’ father asks him for some help with his move, Russ replies, “Time is money, Dad, and my time is worth more than a mover.” Later when Russ realizes that some kid got past his extensive security system in his house, he chases the kid out with a bat. He then gets into his Porsche and continues the chase with the kid now riding a bicycle. The contrast is made between Russ’ materialistic preoccupied and closed-off life versus the simplicity and innocence of life as a child.

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The chase is interrupted by the appearance of the red plane which nearly runs Russ over.

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Confused by this encounter Russ visits a psychiatrist because he believes he is hallucinating, and he wants a pill that will fix it or make it stop. He tells the therapist, “I don’t want or need therapy. I’ve forgotten my childhood; it’s in the past where it belongs.” The therapist responds, “But it doesn’t want to stay in the past. You’re seeing these hallucinations for a reason. You need to figure out what that reason is.”

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In IFS terms, the kid is an exile, and Russ’s system is dominated by a manager part who is focused exclusively on work. When Russ explains his work as an image consultant, the kid precociously concludes, “You help people lie about who they are so they can pretend to be someone else.”

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Russ begins to see that it is not his job to straighten out the kid, but to learn from him. Gradually Russ realizes that he has no intimacy in his life and that he has not yet acquired anything of true value.

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It is at this point that Russ and the kid go back in time to the kid’s eighth birthday where the kid was bullied by four other kids who were torturing a three-legged dog. With Russ watching and supporting, the kid does something different. He pushes the bully down, sits on him, and rescues the dog. Although this seems to be the turning point, we learn that there is more to Russ’ trauma history.

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We learn that Russ’ mother was dying and in a moment of anger, his father, on the same day as Russ’ birthday, shouts at him, “What’s the matter with you. What are you trying to do, kill her faster. Stop crying! You gotta grow up, understand? Grow up!” We learn that this is when Russ believed he was responsible for his mother’s death and where he closed off his own feelings and focused on “growing up.”

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Initially Russ’ manager part is genuinely useful in his life but has come to see other parts as useless or impediments to his “success.” As the film progresses, Russ’ manager part begins to listen and begins to feel empathy for the child, and this leads to greater empathy for his secretary, his friend Amy, his father, and even himself.

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In a powerful scene, an emotionally corrective experience, the kid asks, “Did I do it?” and the older Russ, now operating from self, responds with, “No, you didn’t do it. It’s not your fault. Dad is just saying those things because he’s scared.” And together they cry as they move from denied anger to compassion to the beginning of forgiveness.

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The film wraps up with Russ engaging with the woman in his life as he begins to embrace life more fully. An even older version of himself then shows up with a red plane, a family, and a dog. The kid shouts, “We grow up to be pilots!” The story ends with the integration of the three parts: the kid, the adult self, and the future self.

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Although the film is sometimes rather cliché, using conventions typical of a 90’s romcom, nearly 25 years later it still retains its charm. This is a film for the whole family which might stimulate a discussion about childhood hurts and how, if unresolved, they can affect future life choices and behaviors. Disney’s The Kid succeeds in helping us understand the concept of an inner child and how working with parts can be therapeutically powerful and life changing.

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Christ is among us!

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Dr. Gerry

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