The Gold Rush Key Sequence 1 - Performance and Sound

The performance and sound of The Gold Rush

- The opening sequence

Before Chaplin enters, there is a continuation of the non-diegetic music reminiscent of the previous scene; a low piano pitch to create a slow pace parallel with the hardships of the hundreds of prospectors. This creates a particular mood for the spectator and they will come to expect a hardened, perhaps stoic character beaten off the track, so when Chaplin enters with his out-turned feet and waddling gait, the mood is immediately subverted to a light-hearted, non-serious tone which humours the audience. This is aided by the change in music; an increased tempo, higher pitch, and playful tune resemblant of a children's song which is parallel to the childish nature of the scene. This all adds to Chaplin's character of 'The Tramp', and the audience will recognise, from the change in music, that this character is unlike the hundreds previous as he chooses to walk without caution on a dangerous, icy cliff - suggesting his lack of awareness and intelligence. This is shown through his performance: he walks quickly, but without an obvious purpose, seemingly unaware of the danger he is in as his feet are turned outwards in his 'Tramp' characterisation, making it far easier to fall. His entire mannerisms are similar to that of a toddler; the small, incautious steps suggesting he isn't observant of the environment, exploited to potential harm, yet the quick pace implies he is innocently happy and somewhat motivated, even if his lack of care within his movement works against his drive to succeed in the environment. Despite this, the audience may find him somewhat admirable in his confidence and seek to almost protect him from his innocence - relating to the idea of his infant tendencies within mannerisms - which is why, when he leans aggressively over the cliff while turning the corner, the audience is filled with a surface-level sense of anxiety, but underneath there is no real threat because the music secures the audience's worry by having a light-hearted tone, foreshadowing that the character will escape any real harm. In addition to his gait, his gestural movements with the use of the cane prop acts to provide humour for the audience. For example, as he waddles along the bumpy terrain, he moves his arms outwards as if to balance his weight. This is contradictory;  his arms are out in order to stabilise a fall, yet he takes no care in his walking, so it seems almost pointless to the audience that his attempt at providing stability for his movement isn't considered for the rest of his body. Similarly, he is holding a cane yet isn't utilising it to support his unsteady actions, making it a pointless object for him and the scene; if he isn't using it at all, he may as well use a free hand to hold onto the side of the cliff in case he should fall, which is suggested heavily. In addition, his cane is upside down so it is useless in any kind of aid. This is funny for the spectator and relates to the slapstick comedy within the film as each element of his character is purposely considered by Chaplin - showing that he is successful in conveying a convincing character - and we can assume immediately that his character will be unsuccessful in his journey from his entire impracticality. However, this can be argued as we are given examples of success in this scene, such as when he barely escapes death throughout the sequence, foreshadowing that, in the end, despite his unlucky situations, he always remains, ironically, lucky in unjustifiable success.

In the second shot, Chaplin continues his walking style along with the lively tune and he exaggerates his gestures more by waving the cane around and loosely observing it. This furthers the notion that he is a playful, non-serious character who takes the walk along the dangerous cliff as a jolly trip. He is even less cautious here as his actions have been sped up which supports the fast pace of the music and energy of his movement. This creates comedy as he is more focused on the interactions with his cane than being aware of the countless hazards around him, supporting his innocent, childlike nature. This is also the first shot where the spectator can see Chaplin's facial expression and entire costume. For example, his moustache is an area of focus and furthers his impracticality; other peripheral characters such as Big Jim and Black Larson have hardened, unshaved faces, implying they are more concentrated on surviving in the harsh environment than grooming their appearance, which is what we see on Chaplin. His facial expressions are mostly obscured from the camera technology, however it is noticeable that he is content with his situation as he has a visibly neutral face. He looks at his cane as he lightly throws it around in his hand which suggests he focuses primarily within his own movements and he is unbothered or observant of his surroundings. This shot mainly serves to show the audience a closer look of this character and his interactions with the environment, or lack thereof. 

This is an example of dramatic irony within the scene as the spectator is shown an extremely dangerous threat following Chaplin - a bear. Its appearance is comical as the audience is not expecting something so dramatic, because the tone of the scene and music is so innocent ad light-hearted, making this area of the scene contrasting and thus the music contrapuntal. However, this is a product of the genre as the lack of awareness from Chaplin combined with the juxtaposed tone of the...

...music creates comedy for the audience. The dramatic irony is also shown through the music; when the audience is fully aware that the bear is following Chaplin, there is a purposeful lowering of the pitch and slight increase of pace on the piano. This is an obvious suggestion that the music is conveying the audience's emotion of anxiety, as if it is almost trying to warn Chaplin within the scene as this omniscient force from the obvious change, which is humorous as it is non-diegetic and thus making it aware that Chaplin cannot see this signal of danger from the music, and by extension, the audience. This lack of control is tense for the audience but serves to make this shot more engaging as it is so unexpected. As discussed previous, there is no real danger nevertheless because if there were, the music would change drastically into a loud and demanding pitch to fully convey and foreshadow endangerment, but instead it goes back into the same tune as before. Therefore, the lack of this change shows that this is a non-serious threat that playfully pulls on the spectator's perception. All while this is happening, Chaplin continues to walk with a spirited, oblivious persona which is both slightly frustrating and funny for the audience.

The tone of the scene continues and Chaplin walks swiftly onwards with his air of innocence, and the audience's potential sense of protection is heightened but not stressed as the bear poses no threat; it is simply following but there's no suggestion that it will attack, so this unlikely situation is fun for the audience. Therefore, this sense of security means that the music is no longer contrapuntal as it doesn't contrast to the scene, instead becoming parallel to the playful tone. Chaplin continues to wave his cane and his lack of distress and injury is both frustrating and reassuring for the audience, yet there is also a sense of bewilderment at his luck so far in the scene; he is constantly on the verge of death yet he almost works alongside his peril rather than become a victim to it. 

The final shot of the sequence secures the idea that Chaplin is unbelievably, perhaps unjustifiably lucky; the bear walks into a cave, and at the last second Chaplin stops to look behind him. This is again slightly frustrating for the audience as he is still completely unaware of the 'danger' he was in. Despite this, it was intentional from Chaplin as the dramatic irony is completed perfectly. This may be satisfying for the audience as they remain this omniscient force within the film, yet the lack of power and control is simultaneously present, which could concurrently be provoking, and most likely also intentional from Chaplin to tease our presumed power. Chaplin's performance at this point is suitable for his character; his stylised gait halts as he coincidentally (with intentionally perfect timing to tease the audience) turns behind him to see no threat and subsequently shrugs to carry on. This supports his unbothered emotion as he has no second guesses or doubt to check his assumed safety, which is perhaps something that a sensible person would do, thus suggesting his lack of intelligence or caution. His facial expression changes as he opens his mouth and raises his eyebrows to question his surroundings- the first time he does so - in an exaggerated manner, suggesting he isn't very subtle in the way he carries himself, which was already evident in his introductory movements. Afterwards, he goes back to his swift pace and playfully steps with his cane twirling in his hand. His facial expression returns to a neutral, content state to mirror his actions and change of objective. Throughout this sequence the music is still a high pitched melody, suggesting that the unbothered and playful tune is reflective of the audience's security and certainty that Chaplin will fall into no harm, relating to the idea that the music and audience act as one omniscient force.