The Gold Rush 1923 1924 1926 next previous
The Gold Rush Clippings 300/363
Edwin and Eliza Schallert, Picture-Play, N. Y., October 1925.
Edwin Schallert of the Los Angeles „Times“ is a native son.
Not only a native son of California but of Los Angeles,
and he has been on the „Times“ in various capacities since
1912. Born in 1890, he later earned a B. A. degree at
St. Vincent‘s College, Los Angeles, in 1918; also a M. A. in 1921.
(...) Edwin Schallert (Dramatic Editor, Los Angeles „Times“),
Variety, Aug. 19, 1925, photo
& We consider it a great privilege to open our gallery
with this study of Mr. Chaplin. Not oftener than once in three
years can this great star be persuaded to sit for
his portrait. You may see little resemblance here to the
Charlie you know and love on the screen, but his
friends would tell you that this is truly „a speaking likeness.“
We title it „The Portrait of a Philosopher.“
(...) Albert Witzel (photographer), Charles Spencer Chaplin –
Our Portrait Gallery, Motion Picture, Oct. 1925, detail
& Charles Chaplin, Charles, Jr., Lita Grey Chaplin,
undated
& Francis Howard (Mrs. Samuel Goldwyn),
1925, Silent Cinema
& Grauman‘s Egyptian (...) Now Playing
Charlie Chaplin in „The Gold Rush“ (...)
and Sid Grauman‘s Unique Prologue
„Charlie Chaplin‘s Dream“ (...)
Los Angeles, 1925, flyer
& The Gold Rush Souvenir Program, Grauman‘s Egyptian
Theatre, Los Angeles, 1925, front page
& Patchogue Theatre, Patchogue, Long Island,
The Gold Rush Poster, Aug. 23, 1925
„Audiences have never laughed so incessantly“
Editorial content. „Hollywood Highlights“ (...)
„By Edwin and Eliza Schallert“ (...)
„The Gold Rush.
The premiere of The Gold Rush easily took rank
as the most brilliant ever held in Hollywood.
It was an early-summer affair, and as comparatively few
companies had gone away at that time, everybody
who could beg, vamp, or otherwise procure a ticket, was
on hand for the opening.
Charlie‘s picture was applauded as a genuine tour de force
in the comedy vein. Audiences have never laughed
so incessantly and for so long at any other first showing. There
are nearly twelve reels to the film, and Chaplin appears
in approximately every scene.
The reviewers in most instances were less enthusiastic
than the audience, and, taken all in all, the popular
vote on the worth of the production is quite divided. The verdict
is inclined to be rather unanimous that The Gold Rush
is not as good as The Kid, or Shoulder Arms, and also that
Chaplin‘s own work evidences more conscious effort
on his part, and less spontaneity, than heretofore.
It cannot be said, though, that this is the consensus
of views held by either the directors or the actors.
Some of them are literally mad about Chaplin accomplishments,
and are willing once again, it would appear, to learn
,at the feet of the master.‘ This inclination to worship the fetish
of the Chaplin art is nothing new to those who know
the colony, but on the present occasion it seems to us to be
rather more overdone than warranted.
Chaplin, the Father.
The news of the birth of the Chaplin heir was
published just a few days after the opening of Charlie‘s
picture, and if there are any who happen not
to be aware of the details, we may mention that the child
is a boy, and has been named Charles Spencer
Chaplin, Jr.
The newspapers had been keeping very close tab
on the event for some weeks prior to the announcement, and
the absence of Lita Grey from the première, of course,
was significantly noted.
Chaplin, as a father, is perhaps not materially different
from the Chaplin he has always been. It seems
doubtful wether the new arrival will alter those peculiarities
of his temperament which have been given such
wide publicity. His main interest is again concentrating
itself on his work, and he is planning out a new
comedy based on the hectic adventures of a man just having
been voted a member of a suicide club. The idea
of such an organization offers much to the imagination, and development under Charlie‘s guidance, we have little
doubt that it would lose much of its gruesomeness. Of course
– judging by Chaplin‘s characteristic changes of mind
in the past – by the time he actually gets ready to shoot another comedy, it will just as likely be based on the doings
of the evolution case at Dayton, Tennessee.
Frances Howard as Hostess.
Samuel Goldwyn, the picture producer, entertained
in Chaplin‘s honor following The Gold Rush première, and
Frances Howard, his new bride, made her début
as a very charming Hollywood hostess. Douglas Fairbanks,
Mary Pickford, Norma Talmadge, Rudolph Valentino,
Marion Davies, and others were among the guests, which
included a very select group of the most prominent
in filmdom.“
The Gold Rush opens June 26, 1925
at Grauman‘s Egyptian, 6712 Hollywood Bld., Los Angeles.
The Gold Rush opens August 15, 1925
at Strand Theatre, B‘way at 47th St., New York.
Redaktioneller Inhalt
The Gold Rush 1923 1924 1926 next previous
