Analysing The Gold Rush
- The dance hall sequence
The sequence begins with an establishing LS of the interior
setting, showing the dance hall to be full of life. Georgia enters from the
left and steals the scene from her pretty appearance, wearing a fashionable
sequined dress, suggesting her wealth and status within the film, one that
contrasts strongly to The Tramp, and sets her apart from the rest of the
characters. To remind the audience of her social power, there are a series of
shots, including an MS of Georgia, showing the interaction between the characters
within the setting as they all admire the photos of her. This proves to the
audience that she is the area of focus, she is well-liked by the peripheral
characters, and that we should like her too. The composition of the shot
demonstrates Georgia's domination of the scene, as her company fill up the
space, suggesting that they are of importance and have a known presence. The
shot type also serves to show Georgia’s popularity and reminds the audience of
the busy setting, which will make the exterior shot more impactful. We also get
the first introduction of Georgia's flirt, Jack, in a close-up. He takes
Georgia's photo teasingly and immediately the audience is presented with a
relationship in the narrative. Thus far, we are led to believe that The Tramp
and Georgia will have some kind of encounter, and traditionally as a love
interest from the way she is presented - popular, pretty, and a soft musical
motif at her appearance. Therefore, we must change our assumption of the
narrative, and it is revealed that there is a perhaps playful love-hate
relationship between Jack and Georgia as she snatches the photo back and has a
frustrated facial expression, although comically performed as she narrows her
eyes and pouts; there is no real hate. Jack is unbothered and dismisses her
reaction by moving away from the camera in an MS with women at his side,
laughing. This suggests his character type as being flirtatious, tormenting,
and promiscuous.
The exterior shot shows the dance hall within the snowy environment, with the light streaming from the windows in an inviting fashion. This is executed by the low key lighting and night-time setting, creating strong contrast of light which differs from the interior setting, implying the activity, bustle, and warmth of company is to be reached inside the light, to which The Tramp is walking towards, suggesting he yearns to be a part of it. People move to and from the cabin, and the......music changes to a soft, almost solemn tune as The Tramp waddles into the shot alone. This loneliness exudes from him, and it is emphasised by the fact that there were people in the shot previously; this suggests that The Tramp doesn't attract company, and therefore he stands out from the crowd. His performance is reminiscent of a child; his gait is slow yet purposeful as he carefully stumbles into the dance hall, and the audience is reminded of the Tramp's innocence and childlike nature, foreshadowed by the music before he enters the frame. His mannerisms are less exaggerated too as he has his hand is in his pocket and he holds his cane correctly - a contrast from his first appearance. I believe this is because he wants to be seen respectfully, suggesting he has some form of self-awareness and wants to be included with the rest of the crowd. This subverts the comedy genre as this shot evokes sympathy rather than laughter. This is because the audience has been led to like the Tramp despite his mishaps and idiocy - they are the things that make him so likeable and unique - and he seems perfectly content in his own version of the world, and his lack of self-awareness is what makes him so innocent to the spectator. Similarly, the way he carries himself is the only thing he has control over while everything else unluckily turns against him as he navigates the situation. So when we see him losing control of the scene, we feel as though he has lost an integral part of himself, suggesting he is lost in the scene and feels out of place. The Tramp has been known to work alone, as the audience realises from his first introduction, yet the context here makes his loneliness more apparent as he has the choice to be in company; this is his opportunity to socialise as Georgia is, yet he struggles to fit in. This is heightened from his costume too, as his clothing is ironic in the sense that it is still shabby and ill-fitting despite its perceived formality. This obviously contrasts to the rest of the characters in causal wear suited for the cold, (excluding Georgia as she is intended to stand out alongside The Tramp) even though one would expect a dance hall to be filled with tuxedos and ballgowns. This shows that, despite The Tramp for once having relevant attire, he is still the outcast of the story. This relates to Chaplin's caricatures of the aristocracy, which he used in his Tramp persona for comedic purposes; The Tramp tries to fit in with the higher status society, yet his experience of wealth is so different that it is entirely impossible to. Similarly, the shot of The Tramp stood watching the crowd inside the dance hall is an impactful one. He is facing away from the camera which separates the audience from his perspective; we are watching him as he is watching the crowd, and we can see his loneliness. If the spectator was standing with The Tramp, we wouldn't be able to interpret the magnitude of his situation as the focus on his POV, of which he sees joy and closeness, rather than his own desolation. His isolation is enhanced in this shot, evoking sympathy from the spectator. This positioning also suggests that we are part of the crowd, and in an audience nature, we are, so this creates a sense of separation from The Tramp from us too which isolates him further. Although the majority of the frame is in high-key lighting, Tramps' figure is silhouetted from his dark clothing, and only a fragment of light is visible on his face, while the majority belongs as spotlights over the dancers. This lighting also contributes in separating him from the warmth and joy the crowd is in.
In the next few shots, we see Georgia from The Tramp's perspective. She sits at the bar in seemingly high status, wealthy company from the costume of her friend, so when the audience sees her glance towards Tramp's direction, there is a highlighted contrast to her world of luxury and the shabby visage of The Tramp as the cuts reveal the Tramp's sudden realisation of Georgia's presence towards him. The contrast of wealth is also in The Tramp's two shot, and a savvy viewer may make the connection that the man behind in formal clothing has relations to Georgia, which makes the rest of the sequence cringeworthy for the audience in a way that evokes sympathy for The Tramps' misunderstanding. The framing of Georgia deceives the audience as it does The Tramp, and the use of eye-level framing creates this illusion that Georgia is looking at him when in fact she is looking at the man behind. The audience may realise this when the man behind responds to her by waving, but The Tramp is still unaware of this dramatic irony and continues to smile. However if the audience does not notice the man waving, then they are still deceived at The Tramp is, which makes the final shot the punchline of the lengthy comedic build-up.
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