Conventions In The Gold Rush

Charlie Chapman wrote and directed The Gold Rush, a 1925 American film. The producer and actor declared several times that this was the film he would like to be remembered. The film was silently powered, meaning that watchers had to pay undivided attention to capture the humor and the many aspects of comedy projected by Charlie. This essay explores the film The Gold Rush and how the film’s indications of early genre such as film, comedy, music and melodrama have helped develop and convey the film’s language and plot. The essay will also examine conventions available and how the film bucks our expectations of the genre. New York Times in its critique indicated that at last the world had realized a comedy with streaks of poetry and tenderness. Chaplin’s music in the film was in line with the nature of incidences. At times of danger and expectations, the background music would roar to awaken watchers on the proceedings. What is more, the roll and pop dance Chaplin performs tweak our expectations and intrinsic humor for the film. The New York Times realized that this dance was the most popular in the history of film although Roscoe had done a similar dance in his film The Rough House.
When Chaplin falls in love with the lonely saloon girl Hale, we get a true picture even without the slightest expression of words. The film is exemplary in its indication of early genre through the use of melodrama. The sensational and dramatic piece appeals to our emotions that Chaplin is in love. A play on songs accompanied with orchestral music draws our imaginations allowing the film to express the deepest of feelings and ideas. The Gold Rush is successful in the use of alteration. At one point, Tramp, also Charlie, gives Georgia Hale (The Saloon Girl) a lingering kiss and the sound version of the film tweaks our emotions of love and exquisite expectations (Neibaur