film in the documentary series Unknown Chaplin, Hale revealed that the marriage had collapsed during production of the film; the final scene of the original version, in which the two kiss, reflected the state of his relationship with Hale by that time. Box office The Gold Rush was a huge success in the US and worldwide. It is the fifth-highest-grossing silent film in cinema history, earning more than $4,250,001 at the box office in 1926. Chaplin proclaimed at the time of its release that this was the film for which he wanted to be remembered. It earned United Artists $1 million and Chaplin himself a profit of $2 million. Critical reception Critics generally praised the original 1925 release of The Gold Rush. Mordaunt Hall wrote in The New York Times: 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: 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