The Gold Rush Cinematography Analysis

The cinematography of The Gold Rush

- The opening & New Year scene

This is a high-angled ELS (&wide angle), acting as an establishing shot for the scene and overall, the setting for the film. The composition has a mix of triangular geometric shapes; the foreground showing an array of cabins scattered in the frame against the jagged nature of the mountains with an equal balance of blank negative space in between to separate the safety of the cabins with the looming reminder of the dangerous journey on harsh terrain which dominates the frame, making the spectator understand its importance and power within the scene. The camera is static to somewhat reflect the slow trek up the mountain and hence emphasise the size comparison, but more intended to show the length of the thousands of prospectors following in an almost comical, unrealistically arranged line; they act as the bridge between the foreground and mountains, connecting them to visually balance the shot as it is framed central which makes it the focus – it is also the only part of the shot that is visibly moving and the curvature contrasts to the triangular shapes shown so it is an obvious point of interest to the spectator. 

The composition of the next shot contrasts to the previous as there is a steep diagonal Dutch angle of a closer focus at the prospectors slowly moving up the mountain so the spectator can be at a more comfortable level with the characters and familiarise themselves with the conditions of the terrain. This is also balanced in the middle of the frame and shot at a high, wide-angle in a VLS to show them interacting with the snowy environment. The lighting is high key to illuminate the action, and the black-and-white colours complement effectively and make the setting more realistic to the spectator from the variation of rock and snow. It also highlights that this scene is shot in the daytime which suggests that the prospectors have travelled early for there to be so many at one time, showing to the spectator a clear example of the collective desire for gold, which makes the next montage of Chaplin funnier - he is framed in a single shot and therefore stands out from the rest of the prospectors. The closer framing is also evident in the next shot which is a high angle LS of the prospectors walking towards the camera as it pans upwards to show the length of the curved line on the mountain, revealing to the audience the size of the crowd. The next shot is another LS at a more comfortable, eye-level angle to immerse and involve the spectator with the scene which closely shows the hardships of the journey and texture of terrain in detail. This montage is concluded with revert back to the first ELS shot at a closer angle which finalises the narrative of that scene before the spectator is introduced to the protagonist.

Although Chaplin is at an increasing LS while walking away from the camera, the shot is framed at eye level which makes it comfortable for the audience. This could be a reference to the comedy genre; if Chaplin wanted the spectator to feel anxiety for the character, he would have framed the shot at a high angle to show the height of the cliff or as a POV shot from the character – which would be out of character as ‘The Tramp’ is always oblivious to danger. However, the spectator is shown part of the cliff and is intentionally aware of the hazard, but the character being clueless to it is what makes it captivating for the spectator – this technique is dramatic irony. Therefore, the lack of uncomfortable framing shows that the dangerous threat of death from toppling off the cliff is not to be taken seriously, and much laughed at as an element of the slapstick humour- the spectator should laugh at the character’s lack of awareness and foolishness rather than the reality of the threat. If this was highlighted through the cinematography, the scene would not be funny to the audience. This framing also tells the audience that the character won’t fall as there is no foreshadowing to it from the cinematography, creating a sense of security for the audience so the scene can be enjoyed innocently without worry.

At the beginning of this scene, there are two crowd shots accompanied by loud, fast music and high key lighting. The frame is filled with people to show the lively atmosphere and energy of the new year's party. It is at a high angle to show this crowd shot better and places the audience from a third-person perspective after the eye-level view previous. There is not a lot of contrast with the light which supports the idea of an alive mood within these shots of the party, highlighting Chaplin’s loneliness in his single shots in between the cross-cutting of the two settings. To further this separation, there is an insert shot of a banner that reads ‘happy new year’ in the bar. This is significant because Chaplin isn’t there to enjoy the...

...celebration which the audience recognises and thus this reminder evokes sympathy for him. It also juxtaposes to his predicament because his new year ironically hasn’t been happy. An interesting comparison is that of the clock that hangs between this banner; in Chaplin’s single shots within the cabin, there is also an insert shot of a clock which similarly illustrates the passing of time and reminds the audience as well as Chaplin, that Georgia hasn’t arrived at his festive dinner. This means that this clock has sad, lonely, and impatient connotations with it, so when the audience is shown a clock within the party setting, it is in a strikingly different context and shows the sentiment and happiness of the shot; the energetic performances are anticipating the clock to strike midnight as then it will be a time for celebration, whereas with each passing minute in Chaplin’s setting, is another moment of missed celebration. This heightens the sympathy for Chaplin as his experience with time is vastly different to the rest of the town and he is shut out of the invitation. Chaplin’s single shots are shot mostly as an LS to show his interaction with his environment and hence his loneliness in the empty cabin. The cramped feel of the cabin is juxtaposed with the emptiness of it as Chaplin barely fills the entire frame. His performance also contrasts with his normal characterisation; his clumsiness is absent here as he wants to impress Georgia and takes care in how he presents his feast. The audience will understand this, so when Georgia doesn’t turn up, his change in mannerisms feel wasted. In Chaplin’s dream, the cinematography changes drastically as there is an introduction of mid-shots and close-ups of all the guests in the cabin, suddenly making the scene feel warm and inviting for the audience. A burst of energy and happiness is evident during this, such as when Chaplin reverts to his usual characterisation and playfully pierces two rolls and dances with them like feet – bringing joy and humour to the scene, which is torn apart as it cuts to a shot of him back to an LS alone in the cabin. The fact that the camera is static for these shots, although most common and necessary for the technology of the time it was made, works in favour for the narrative as the stillness of each frame supports the isolation of Chaplin and lack of activity.

The lighting is severely contrasted through the composition of the frame; The window acts as a physical barrier between Chaplin and the visible light, so when the audience is actually shown this, his separation from the party is solidified and he remains in darkness and emotional despair. He is framed in the centre to show he is the point of focus, yet the bright window to the left shows the movement and activity of the celebration within, so the audience is naturally drawn to this as Chaplin is; we have experienced his loneliness with him, so there is a true realisation of his social detachment here, and the fact that he is mostly concealed in darkness suggests that, despite the inviting light through the window, he has been taken over by the shadows too soon, foreshadowing that he will not be joining the party. Yet, despite this, there is a shred of light outlining his face created through the low-key lighting which gives him, and the audience, a glimpse into the light and potentially a small possibility of happiness, a shred of hope. This hides his features, but the spectator can still understand his emotion from the music and context, and this obstruction of his features shows that he is in a dark place as his facial expressions are a fundamental part of his character, so the fact they are concealed shows that he is not his usual self. The audience is also placed with him in this shot through the OTS and mid-shot, so we experience his feelings from his perspective and his desolation is emphasised intentionally. Ultimately, despite the potential invitation into the light, Chaplin walks into the darkness.