1) Listed as a major filmmaker in American cinema in the
1920s, Flashback: A Brief History of Film
makes the case for Charlie Chaplin’s success as well as his genius. One of
the first and most prolific comic actors, Chaplin’s style was one of improvised
grace. In his constant movements in front of the camera came across an easy
humor that never seemed forced. Comedy for Chaplin was just “something you
caught him at” (49). This was what endeared him to audiences. But these sight
gags were not the totality of his films. Rather they were the means for him to
hold a “mirror up to life” (49). His genius was defined by the reality and
truth that stood behind every joke and pratfall. Chaplin was a comic with a
message. With The Gold Rush (1925)
for example, Chaplin told a story that went far beyond comedy; one that
simulated “the ebb and flow, the pleasures and pain of life itself” (50). Using
the template of a comedy and casting the beloved character of The Tramp,
Chaplin made a film that matched laughs with meditations on loneliness,
rejection, acceptance, and love. He created a human experience for audiences,
and did the same with many of his other films. The film we watched, The Gold Rush, stands out as one of the
finest examples. It’s no wonder it’s the film Chaplin wanted to be most
remembered by.
2) Article URL: http://www.variety.com/review/VE1117789109/
The website for Variety magazine hosts an original review
for the film from July, 1925. The reviewer calls The Gold Rush the “greatest and most elaborate comedy ever filmed,
and will stand for years as the biggest hit in its field.” This particular
review basically encapsulates the high esteem with which The Gold Rush is held. The praise given is the same praise we hear
today. For example, that Chaplin managed to create in a comedy film “dramatic situations
bordering on tragedy,” which showcased the “master hand and finesse” of his “artistry.”
The review doesn’t neglect to mention that the film is still packed with gags
and laughs that will win over a public who might just be seeking a good comedy.
The film is then explained in detail, offering much more than a summary should
provide. Giving away almost everything but the impromptu “marriage” and final
kiss at the end of the film, the reviewer singles out the scene of The Tramp’s disappointment
when Georgia and the girls do not attend his dinner. It’s applauded as “undoubtedly
one of the finest pieces of dramatic interpretation ever put on the screen.”
The review concludes with more praise of Chaplin as the commanding presence on
screen and the undeniable greatness of his comedy over anything that has come
before. Very high marks are given to his craft in this exceedingly positive review.
3) The Variety review gave me a positive
opinion from the
actual time the film was released. It’s common to hear great praise for
an old
film now, but in a lot of instances those feelings didn’t exist when the
film originally
hit theaters. These films get marginalized and find themselves
underrated and unappreciated until later generations pick up on their
greatness. I was
expecting something in the realm of that when I saw that the Variety review was
from 1925. I thought the review would be positive, remarking mostly if not
exclusively on the laughs. Instead I read great acclaim and respect for the
film. Clearly the review ‘got’ it. The drama and emotional aspects were not lost
or ignored, but held high as masterful work from Chaplin. In addition, the humor
was hailed as the best the theater had ever seen with great laughs in heavy
doses throughout. It was the high praise in the review that made me examine the
significance of The Gold Rush more
closely. Greatest comedy is quite an honor to bestow on a film, and I know this
reviewer was not alone in that emphatic claim. This movie really was of a
quality not at all common in the 1920s. It was incredibly well made overall. Then
when you dig into the content, you discover an effective film that resonates. The
Variety review helped drive this point home for me.
4) The Gold Rush
was the work of a master. Charlie Chaplin was in a way a sad clown for film. He
was hilarious when he wanted to be, but he showed as his career progressed that
he could tug at your heartstrings like few others in the medium were capable
of. As a director, his films made great use of his dichotomy. Instead of
completely silly scenarios and setups, Chaplin’s stories had a plausibility and
intelligence not expected of comedies. They were very real stories featuring
very human characters. In The Gold Rush,
The Tramp gets trampled for the better part of the film as a proper underdog is
supposed to. But there is a sadness that hangs over the laughs had in the
process. You hurt for the character, and this is where Chaplin succeeds. This
is what puts him levels above many of his contemporaries and why his films
stand out to this day. Chaplin’s laughs came with a heart and a brain. There
was just more going on with his films than what a lot of other directors were
putting out. Instead of going the route of fantastical, Chaplin grounded his
films so that they revolved around ordinary people in slice-of-life locations.
His character in The Gold Rush was
just one poor prospector out of hundreds looking for gold in Alaska. He
encounters some odd characters and falls in love with a girl. A simple premise
elevated by Chaplin’s presence and skill as both actor and director. Elevated
to such a degree as to be universally hailed as one of the greatest films ever
made. Chaplin earned the laughs and tears he got from audiences. His great
understanding of the human condition is what made him such an amazing
filmmaker. If that wasn’t enough, The
Gold Rush is not without its technical achievements. It contains some very effective
early special effects in regards to the iconic tilting house at the film’s end.
All around, the film is a masterwork. It really is enough to make you wonder
how a film so sophisticated and heartwarming could have been made in the time
before sound was even introduced to cinema.
