A bowler hat, enormous shoes whose toes point in opposite directions from one another, and a comically ill-fitting suit that seems at once baggy and far too small: these are the trademarks of the Tramp, Charlie Chaplin’s most famous character and the ultimate outsider. In this farcical interpretation of a wealthy man’s attire, he mimics the behavior of an ordinary member of society while somehow remaining intrinsically separate. But his most profound moments come when his clownish interactions with the world lead to a genuine human connection, as they do in “The Kid,” Chaplin’s feature length directorial debut, turning 100 this year. Here, the Tramp is tasked with the raising of an abandoned child, and they develop a bond so powerful that we see echoes of it reverberate through cinema, delicately deconstructing traditional notions of fatherhood and, by extension, masculinity. The work that Chaplin does in “The Kid” provides a template for innumerable stories that confront what it means to belong to someone, taking characters who have intentionally detached themselves from a community and reconnecting them with humanity as they are faced with an unconventional version of fatherhood. With its loving depiction of an adoptive father-child dynamic, Chaplin’s century-old film has its fingerprints all over modern entertainment, especially as the familiar storyline had new life breathed into it with the release of “The Mandalorian,” “News of the World,” and “The Midnight Sky.”