The Gold Rush

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Synopsis

Charlie Chaplin’s comedic masterwork—which charts a prospector’s search for fortune in the Klondike and his discovery of romance (with the beautiful Georgia Hale)—forever cemented the iconic status of Chaplin and his Little Tramp character. Shot partly on location in the Sierra Nevadas and featuring such timeless gags as the dance of the dinner rolls and the meal of boiled shoe leather, The Gold Rush is an indelible work of heartwarming hilarity. This special edition features both Chaplin’s definitive 1942 version, for which the director added new music and narration, and a new restoration of the original 1925 silent film.

Picture 7/10

Criterion presents both the 1925 and 1942 versions of Charles Chaplin’s The Gold Rush, presenting them both in their original aspect ratios of 1.33:1 on a dual-layer disc. Both versions are also presented in 1080p/24hz.

Notes throughout this set (in the booklet, menus, and numerous times in the supplements) constantly mention that Chaplin preferred the 1942 sound version of the film, and considered it the definitive version. He even went as far as trying to destroy the original 1925 version (it luckily managed to survive through copies.) Because Chaplin preferred the newer version he of course took better care of it, so it should come as no surprise that of the two the 1942 version looks best. It presents a far sharper and more detailed version, while also presenting cleaner black and white levels and far more distinct gray levels. The print still has some damage but surprisingly it’s quite minimal with the worst offender probably being some minor scratches appearing across the frame. It’s grainy but it looks natural and never overbearing. There are missing frames, some of which seem to be an issue during filming, while other moments apparently have to do with Chaplin’s removal of the title cards.

The digital transfer looks exceptional, and presents nothing to worry about: no artifacts or noise, and the image remains film-like.

The 1925 version, the reconstruction and restoration of which was actually approved by the Chaplin estate, was restored by filmmaker Kevin Brownlow and David Gill in 1993. The two had to go to various sources to get the most complete version possible in the best condition possible, even having to go to the sound versions to pull scenes that they couldn’t find otherwise. In 2011 both Criterion and Cineteca Bologna undertook the digital restoration of this version and now present it in the best possible way.

It doesn’t look as good as the 1942 version sadly, but all things considered it still comes off looking quite nice. The first issue is damage is a bit heavier, more noticeable in certain scenes that don’t exist in the sound version. These scenes are littered with scratches, dirt, and marks. Sharpness and detail is okay, nowhere near as good as what we get in the newer version, and the picture can get very fuzzy at moments (I’m guessing a 16mm print may have been used during some sequences,) but it’s more than acceptable overall. Frames are also missing, unsurprisingly. Black levels and contrast also aren’t as sharp, and at best the darker blacks are a dark gray. Gray levels aren’t as distinct and the image can look a bit muddy because of it.

Thankfully, like the ’42 version, the digital transfer itself is also strong, presenting no issues such as noise or artifacts, so any issues in the source aren’t exaggerated or enhanced. Notes also mention that scenes taken from the sound version had to be reframed because of the soundtrack, which would take up part of the frame. I didn’t notice a difference but someone with sharper eyes may notice.

The 1925 version doesn’t look great but considering its history (again, Chaplin apparently tried to destroy it) I think we’re lucky we get something that looks as good as what we get here. It has its issues for sure but it’s still far more than acceptable. But when we get down to it the 1942 version is actually quite impressive and easily the best version of the two. Though it benefitted from the fact that Chaplin restored the film in ’42, for a film this age it still manages to look spectacular.

1925 Version: 6/10 | 1942 Version: 8/10 | Overall:

Audio 8/10

Criterion delivers two audio tracks, one for each film. For the 1942 version we get a lossless linear PCM 1.0 mono track. This track was a fairly big surprise for me. Despite being about 70 years old it sounds fairly clean and new. Chaplin’s voice over is incredibly clear with no distortion or noise, and the same can be said of the film’s music. It also has some fairly strong range, and decent volume levels. Overall it’s very sharp.

The 1925 version comes with a score (which resembles the score found in the 1942 version) recorded by composer Timothy Brock and presented in DTS-HD MA 5.1 surround. Unsurprisingly, since it was recorded recently, it sounds beautiful. The music fills the environment and perfectly surrounds the viewer, placing them as if they’re right there with a live symphony while delivering an exceptional level of clarity. It’s loud, has superb range, and never once falters.

1925 Version: 7/10 | 1942 Version: 9/10 | Overall:

Extras 8/10

Criterion’s edition of The Gold Rush, in comparison to their previous Chaplin releases, isn’t as loaded in the supplement department but as usual Criterion does an exceptional job covering the film and its history.

The big supplement is of course is the new high-def restoration of the 1925 silent version of the film. Though Chaplin preferred the sound version and the Chaplin family thought this movie is, at best, a “supplement” to the 1942 feature, Criterion actually presents the option to watch either version from the main menu, with the menus then splitting for each film, each presenting their own time line and chapter menus.

Some despise the sound version so the very fact the silent version is getting a high-def presentation will more than likely be a huge selling point, especially since Criterion didn’t skimp on the presentation. I don’t hate the sound version, though admittedly do find Chaplin’s voice-over, an attempt to update the film for the sound era, a bit odd and probably unnecessary. But it’s not without its own charms and has a few laughs itself. In the end it will come down to personal preference but at least viewers have the option and it looks probably about as good as it can right now.

The 1925 version also includes an audio commentary by Chaplin biographer Jeffrey Vance while the 1942 version actually gets nothing in the way of unique features. Vance can at times be a little much and loves to exaggerate (he claims he’s doing the commentary for the 1925 version because he couldn’t possibly compete with Chaplin’s narration on the ’42 version—gag!) but it’s hard to deny the guy is knowledgeable and he keeps the track going at a decent pace. He covers the general production, Chaplin’s inspirations, and the problems that came up along the way. He also gets into the various histories of the many performers in the film, even right down to the dog, and he also talks about its reception and Chaplin’s altering of the film for the sound era. It’s obvious Vance is reading from notes, and again he can be a little much and a little “too cute” for my tastes, but he has a lot to say about Chaplin and the film and many may find this worthwhile.

Criterion next includes a short featurette about the restoration of the 1925 version under the feature Presenting The Gold Rush. Here Kevin Brownlow and Jeffrey Vance (who again pushes, over and over, that the 1942 version is the one Chaplin called the final version) talk about the production, the conversion to sound, and the restoration of the 1925 version. There’s also quite a bit about Chaplin’s forming of United Artists and the films made there, as well as what happened to most of the silent films after Chaplin closed the American studio. There’s a bit on the reconstruction of the silent version, but disappointingly not as much as I would have liked. Brownlow does cover the various sources they went to though this does feel skimped over. Despite this it’s a decent 16-minute briefing on the film’s history and the multiple versions of the film.

Chaplin Today: The Gold Rush, is a 2002 feature which appeared on the original Warner Bros. DVD. The 27-minute piece looks at the universal appeal of Chaplin, his Tramp character, and The Gold Rush, using an interview with Burkina Faso director Idrissa Ouedraogo to explain this. Though this aspect of it is interesting the piece is otherwise nothing too special, offering a fairly simple recollection of the film’s production and the re-release of the sound version. It looks at a few key scenes in the film and does offer some backstory, but Vance’s commentary does cover a lot of this. Its primary advantage is that it does present archival interviews with Lita Grey and Georgia Hale, but otherwise it’s a fairly standard making-of/reflection. It’s been divided into 6 chapters.

A Time of Invention is similar to a feature found on Criterion release of Modern Times, where special effects expert Craig Barron looks at the film and explains some of the film’s clever special effects, from how Chaplin did the opening ledge sequence to the finale’s famous “shack on a ledge” bit. Barron doesn’t have the exact answers but based on his knowledge of special effects at the time he is able to offer how he thinks some of the effects were pulled off. I always like this kind of stuff, and with examples Barron easily explains how Chaplin probably pulled off some of these clever tricks. It runs about 19-minutes.

Finally we get a 25-minute interview with composer Timothy Brock about the music by Charles Chaplin. Brock talks about Chaplin’s musical background and gives a history of the scores Chaplin would do for his own films, starting with City Lights. Brock then talks about his own restoration work the new recordings he’s made of Chaplin’s work. He then talks about the process of adapting Chaplin’s ’42 score for the slightly longer ’25 version and talks about the little intricacies that can be found in Chaplin’s music. We even get some footage of Chaplin conducting thrown in for good measure. This was actually a surprisingly fascinating addition on Criterion’s part, really opening my eyes to Chaplin’s music, which I’ve admittedly overlooked.

The supplements then close with four trailers for the 1942 version, one each for England, France, Germany, and the Netherlands, altogether offering a look at how the Tramp was advertised around the world.

The included booklet then provides an essay on the film and its two versions by Luc Sante, followed by a reprinting of the original review by James Agee for the 1942 release. It’s a slim booklet but a decent read.

Again, in comparison to the other Chaplin discs released by Criterion it’s a little slim, but the material is mostly fascinating and getting a new restoration of the 1925 version more than makes up for the lack of much else.

Closing

With strong presentations for both the 1942 and 1925 versions of the film, as well as some great material to be found in the supplements, this disc comes with a high recommendation for Chaplin fans and I’m still looking forward to Criterion visiting the filmmaker’s other films in (hopefully) the near future.

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Directed by: Charlie Chaplin
Year: 1925
Time: 88 | 72 min.
 
Series: The Criterion Collection
Edition #: 615
Licensor: MK2
Release Date: June 12 2012
MSRP: $39.95
 
Blu-ray
1 Disc | BD-50
1.33:1 ratio
English 1.0 PCM Mono
Musical Score 5.1 DTS-HD MA Surround
Subtitles: English
Region A
 
 Both the 1925 and 1942 versions of the film   New audio commentary for the 1925 version by Chaplin biographer Jeffrey Vance   Presenting “The Gold Rush,” which traces the film’s history and features filmmaker Kevin Brownlow and Jeffrey Vance   A Time of Innovation: Visual Effects in “The Gold Rush,” featuring effects specialist Craig Barron and Chaplin cinematographer Roland Totheroh   Music by Charles Chaplin, featuring conductor and composer Timothy Brock   Chaplin Today: “The Gold Rush” (2002), a short documentary featuring filmmaker Idrissa Ouédraogo   Four trailers   A new essay by critic Luc Sante and James Agee’s review of the 1942 rerelease