Little Dian played (stray gold panning), Big Jim played (found a gold mine), the blizzard all hid in the wanted criminal's cabin, Big Jim stayed behind with force. The wanted criminal without food lost the lottery and went out to look for it. The policeman was killed and found a gold mine. Big Jim was so hungry that he almost ate the little one. Big Jim went to the gold mine and was stunned by the wanted man, who fell to death in the valley. Big Jim woke up with amnesia. Jack Georgia played. Don't point to the town. When the ballroom meets Qiao Qia, Qiao invites Xiaodian to dance in order to piss off Jack. Little bit found a place to live. Joe came to Xiaodian's residence by accident when playing with his female companions, and made fun of Xiaodian for heating in the house. Little is ready to entertain and shovel snow to make money. Waiting alone on New Year’s Eve, dreaming of a bread dance. Joe and Jack spent the New Year with his friends in the ballroom. They thought of the dinner that Little Don't prepared, and discussed together to tease him. When he arrived, he found that Xiao Budian was not there, and when he saw his careful preparation, he was angry with Jack. Big Jim came to the town and forgot the location of the gold mine. Joe wrote a letter of apology to Jack in the ballroom, and Jack used it improperly to continue teasing the newbie. Big Jim came to the ballroom and found the little one, and took him to find a gold mine. The two came to the cabin. The blizzard blew the cabin to the cliff. The two almost fell off and found a gold mine after escaping. The two millionaires ran into Qiao Qia on the boat and embraced the beauty again.
Dramatic and comedic treatment:
through the protagonist’s small wandering encounters (eating leather shoes, almost being eaten, etc.) and emotionally teased (used to get mad at Jack, being teased, empty joy, preparing dinner, having sweet dreams, etc.), and then discovering Jin Mine and embrace the beauty to return, realize the depression and delayed satisfaction of viewing psychology.
It is Chaplin's technique to deal with a vulgar story with drama and comedy.
The protagonist’s wealth line is realized through the character of Big Jim. The wanted criminals cabin is designed on this line to let the two meet each other, and let Big Jim lose his memory, find, and meet the little ones again, and finally complete it through the cliff house play. , Set up sufficient obstacles, twists and turns; the
protagonist’s love line is realized through the character of Qiao Qiya, and Jack is designed on this line to give Qiao Qiya a chance to get to know Xiao Budian, and constantly teasing him to find the small things. Love, Jack and Bidian’s attitude towards Georgia also formed a contrast, which not only allowed the audience to become more emotionally identifiable with the protagonist, but also gave Georgia a basis for a change in her emotional attitude towards Bidian.
The dramatic setting of these two lines is based on the relationship between ab and ac and adding d and e to form a triangular contradiction between abd and ace to create rich dramatic conflicts.
The comic treatment of each conflict drama not only increases the degree of appreciation, but also allows the conflict to be resolved comically (41:50 down), and promotes the development of the story in a relaxed and humorous atmosphere.
The background introduction and several panoramas at the beginning explain the background of the story and the reality of reality, but the subsequent protagonists appear on the stage but use exaggerated gait costumes and action performances, as well as the situation that the bear trails behind, revealing the comedy attitude of the film: realistic dilemmas and dangers Will be resolved under the protagonist’s relaxed attitude.
The attitude of serious ritual in the play of eating leather shoes, the performance of eating soles as steaks, shoelaces as noodles, and shoe studs as ribs creates a strong contrast between visual information and Big Jim's reaction to achieve a sense of comedy.
Big Jim’s fantasy of being a little bit into a chicken is actually very realistic, cruel and tragic, but Chaplin used the exaggerated comedic effect of character actions and later bears to resolve the conflict with comedicity, weakening the cruelty, and letting comedy also have comedy. To a deeper irony and playfulness.
The constant misunderstandings from 33:40 onwards, using the omniscient perspective of the audience, put the protagonist in the emotional vortex and sink into the night, the audience’s sense of substitution is getting stronger and stronger, and the sympathy is constantly being stimulated, and the kiss at the end of the film has become this. The cumulative release of a movie-watching mood.
Picking up the photos at the beginning of 35 minutes, there is the observation and reaction of a tramp in the dance scene. He is equivalent to a projection figure of the audience's psychology, reflecting the surprise of the male protagonist's affair, and strengthening the dramatic performance.
The 52-point emotional catharsis and the 1:02 low mood (a dramatic contrast to the bread dance in the dream) made the audience be overwhelmed by strong emotions (exaggerated behavior, music, cross-editing contrasts, and the long-lasting friendship is still there. A means of creating and transmitting emotions) to achieve sympathy and emotional identification with the protagonist.
The emotional arrangement of the whole film is very ingenious, mixed with joy and sorrow (after singing at 1:02, then jumping up happily and then immediately playing the harmonica and watching the lively lonely protagonist in the room), tension and relaxation alternate (the cabin escapes), ups and downs The ups and downs firmly control the audience's psychology and attention.
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