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AFTER months of preparation, following the com- pletion of "A Woman of Paris," the dramatic ■ sensation of the age, written and produced hy Charlie Chaplin, the filming of "The Gold Rush" was started on February 7, 1^24, with the final scenes taken on April 16, 1925'. Over five hundred thousand feet of film was used in the photographing. Then came the arduous task of cut- ting and editing, the perfect synchronizing of scenes and action, one of the secrets of Chaplin successes. Almost two years passed while Charlie Chaplin worked on this production. During that time he was practically a hermit, recluse to all, save his studio associates. The factory system of movies, and the consequent mediocrity as an art, have in Charlie Chaplin an example of the opposite production method in this dramatic com- edy, "The Gold Rush". It has been made with the art- ists necessary leisure. It was never restricted by definite schedule or time clock methods, but inspir- ed by Chaplin with a passion for perfec- tion as his only task- master. 9 * ) When Chaplin works, he burrows into solitude. He broods, agonizes, sweats comedy and its dramatic counter- balance from his soul. He creates by inspiration. When the mood is upon him, he toils feverishly. Then he may rest and brood again for weeks—and always when the productive throes are upon him he is sensitive to the thumpings of the outside world. Charlie senses, and expresses more than any other en- tertainer, the close affinity between the ludricrous and the pathetic; his comedy springs from within, more as a mat- ter of mood than circumstance. Usually he needs very little story structure to his comedy, but in "The Gold Rush" he has created a rugged story in which laughter :urges from the spectacle of a valiant weakling; facing perils w hich strewed the paths of the early gold seekers with skeletons. In the role of a hardluck sourdough, dressed in the baggy pants, the floppy shoes, the old derby and cane of early association, Charlie twists the sufferings of the Alaskan pioneers into strange commingling of humor and tragedy. He thaws fun from a frosty, forbidding background. The treatment is wholly unlike anything hitherto done, and strikes a Ir.ew note in photo dramatics. "The Gold Rush" contains comedy, drama, satire, melodrama, farce—not to forget a little slapstick—and everything else in the way of entertainment all rolled into one big ten reeled film. \