The greatest film ever made will vary from person to person according to the impact that film makes on that person. If one is not ever truly moved by a film, a person may focus more purely on superficial film aspects of filmmaking, praising the director and his innovative work. This is why, I believe, 'Citizen Kane' is often chosen as the greatest film of our time - because it inspired so many directors in so many ways. I cannot choose a film based purely on its quality of production: to me, the story is more important. 'The Gold Rush' is to me the most personally important, eloquent film I have ever experienced. Due to its age and fair amount of obscurity it's sadly overlooked by the general public.

Among the credits appears a small dediction, which reads:

Dedicated to
Alexander Woollcott
In appreciation of his praise of this picture.

I don't know who Alexander Woolcott was to Chaplin, and because of this I might suppose that I am Alexander Woollcott. Its dedication could lie with the film's appreciants - if so, though I recognize the unlikelihood - then I'm among them.

The film transcends having its eloquence precisely reproduced in a review, and so I can only make a feeble attempt to do so here. 'The Gold Rush''s message pricks the heart of the viewer while genuinely entertaining him and warming his heart. It's like a soul massage; it cleanses, it identifies and reassures. Chaplin's Little Fellow is in bliss, unaware of the peril surrounding him in the world. This is evidenced by his introductionary shot with a large black bear following close behind. He is an undaunted, lone prospector who seeks his claim by braving the cold terrain with only a worn sheet of paper sketched with the four cardinal directions to guide his way. The narrator explains: Now let me see, thought the little fellow. Before I know where I am I must get there.

Throughout, it is clear the little fellow is wholly alone in a cold, unfeeling world - a situation requiring remedy. The Tramp endures a series of outdoor and indoor mishaps in the weather extremities, and finds his way eventually into town one evening. In town there is an establishment - a dance hall - the choicest place of refuge for those with dashed hopes; a lone beacon of pleasure in an insensitive, unfair and cold world. Here is Georgia, an independent and impulsive dance hall girl. He is smitten by her, a girl bored with her environment and willing to settle down if she could only find someone decent and honest. Georgia is happiness to the Tramp. Georgia resists the advances of the ladies' man Jack, who attempts to gain her attention with public shows of dubious affection. The little fellow timidly rescues a photo of Georgia from the dance hall floor. Later while trying to avoid dancing with Jack, Georgia selects the most deplorable tramp in the whole place, explaining she's very particular with whom she dances.