The Gold Rush part of National Film Registry
Here is a comedy with streaks of poetry, pathos, tenderness, linked with brusqueness and boisterousness. It is the outstanding gem of all Chaplin's pictures, as it has more thought and originality than even such masterpieces of mirth as The Kid and Shoulder Arms.
Variety also published a rave review, saying that it was "the greatest and most elaborate comedy ever filmed, and will stand for years as the biggest hit in its field, just as The Birth of a Nation still withstands the many competitors in the dramatic class."
The New Yorker published a mixed review, believing that the dramatic elements of the film did not work well alongside Chaplin's familiar slapstick:One might be given to expect wonders of Gold Rush burlesque with the old Chaplin at the receiving end of the Klondike equivalent of custard. But one is doomed to disappoint, for Chaplin has seen fit to turn on his onion juices in a Pierrot's endeavor to draw your tears.... Instead of the rush of tears called for, one reaches for his glycerine bottle.... We do not wish to deride Chaplin. He is as deft as ever and far and away a brilliant screen master. He has made a serviceable picture in "The Gold Rush" but it seems that he is not as funny as he once was.
Nevertheless, The New Yorker included The Gold Rush in its year-end list of the ten best films of 1925.At the 1958 Brussels World Fair, critics rated it the second greatest film in history, behind only Sergei Eisenstein's Battleship Potemkin. In 1992, The Gold Rush was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".Chaplin biographer Jeffrey Vance considers The Gold Rush to be Chaplin's greatest work of the silent-film era. Vance writes, "The Gold Rush is arguably his greatest and most ambitious silent film; it was the longest and most expensive comedy produced up to that time.  The film contains many of Chaplin's most celebrated comedy sequences, including the boiling and eating of his shoe, the dance of the rolls, and the teetering cabin.  However, the greatness of The Gold Rush does not rest solely on its comedy sequences but on the fact that they are integrated so fully into a character-driven narrative. Chaplin had no reservations about the finished product.  Indeed, in the contemporary publicity for the film, he is quoted, 'This is the picture that I want to be remembered by.'"The Japanese filmmaker Akira Kurosawa cited The Gold Rush as one of his favorite films.The film is recognized by American Film Institute in these lists:
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