Plot
The Tramp (Charlie Chaplin) travels to the Yukon to take part in the Klondike Gold Rush. Bad weather strands him in a remote cabin with a prospector who has found a large gold deposit (Mack Swain) and an escaped fugitive (Tom Murray), after which they part ways, with the prospector and the fugitive fighting over the prospector's claim, ending with the prospector receiving a blow to the head and the fugitive falling off a cliff to his death. The Tramp eventually finds himself in a gold rush town where he ultimately decides to give up prospecting.
After taking a job looking after another prospector's cabin, he falls in love with a lonely saloon girl (Georgia Hale) whom he mistakenly thinks has fallen in love with him. He soon finds himself waylaid by the prospector he met earlier, who has developed amnesia and needs the Tramp to help him find his claim by leading him back to the first cabin.
One sequence was altered in the 1942 re-release so that instead of the Tramp finding a note from Georgia which he mistakenly believes is for him, he actually receives the note from her. Another major alteration is the ending, in which the now-wealthy Tramp originally gave Georgia a lingering kiss on board ship; the sound version ends before this scene. Now, the two share a romantic moment by the old house.
Read more about this topic: The Gold Rush
Famous quotes containing the word plot:
“We have defined a story as a narrative of events arranged in their time-sequence. A plot is also a narrative of events, the emphasis falling on causality. “The king died and then the queen died” is a story. “The king died, and then the queen died of grief” is a plot. The time sequence is preserved, but the sense of causality overshadows it.”
—E.M. (Edward Morgan)
“Ends in themselves, my letters plot no change;
They carry nothing dutiable; they won’t
Aspire, astound, establish or estrange.”
—Philip Larkin (1922–1986)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)