Probably the most amazing thing about the Pirates of the Caribbean franchise, aside from the stellar visual effects, production design, music, acting, editing, cinematography, and stunts (have I missed anything?), is the incredible writing and world building.
It goes far beyond its amusement park beginnings.
Curse of the Black Pearl
The first film The Curse of the Black Pearl immediately establishes that women (even miniature ones) are considered “bad luck” by sailors — and yet centers the story on the Pirate equivalent of Princess Leia – sassy, smart, and willing to move everyone along to the logical conclusion tat such superstition is “old thinking.”
We learn that Pirates are an ugly, murderous, thieving lot — except for the enigmatic Jack Sparrow and his suppressed heart of gold.
Everyone has an agenda. Elizabeth is fascinated by pirates, and seeks to protect her home or the secret love of her life. Will desires recognition, especially by Elizabeth Swann and despises pirates, and Jack — well whatever is best for himself, along with a little revenge.
The writers introduce a series of questions: What is the medallion? Why won’t Jack use his pistol? What’s going on with the broken compass? Can Will Turner overcome his shyness and express love? Why is Jack riding a sinking boat, and what is that Pirate curse?
It spends two hours feeding us answers to these and other questions without spurious exposition, and rewards us with every one.
In the end good triumphs, evil is disbanded, and love is restored.
Then again… after surrendering at the battle, to a person who hangs pirates — how do they get to their ship to rescue Jack?
Dead Man’s Chest
As if dictated by college film professors, the sequel, Dead Man’s Chest, introduces with another mystery: Rain on a washed-out wedding party as the East India Company arrives to arrest our heroes.
Formerly the representation of order, the British Empire and magical creatures are now the enemy, and pirates become the freedom loving, good hearted robbers and killers we always knew they are. We are all pirates now.
Once again questions are introduced, each character evolves, and overcomes ever inventive and rewarding challenges. Each new scene feels like a gift.
Elizabeth Swann takes on an even greater leading role that feels totally natural to her character, as family relationships, preserving themselves, and lost love tears the world apart.
The film really turns “epic” up a notch!
At World’s End
At Worlds End finishes this storyline, and starts with the biggest question, that is screenwriting 101’s best example … while standing at the gallows, why are supposed pirate families singing? More so why is the answer “finally?” We are hooked. We have to know.
Themes, visuals, music, and acting are beyond the previously high standard.
Calypso goddess of the sea, and Elizabeth as the Pirate King tear the world asunder fighting for freedom against the nemesis Davy Jones, who must at all cost feed his revenge — Will Turner, Jack Sparrow, Captain Barbossa, Mr Gibbs are all at their peak form in support. Every character learns, grows, and evolves from the experience — and can there be any better end to the East India Company than a slow motion hail of cannon fire decried amongst the praise “it’s just good business?”
The franchise then took a turn.
On Stranger Tides
On Stranger Tides, promised a grand adventure going after the fountain of youth. Blackbeard is truly the outstanding character, and it is clearly a movie about the test of wills between him and Barbossa (who really is the most compelling character). Unfortunately at this time, Jack Sparrow is more of a macguffin, driving the story forward and giving us a “best of” performance, and Penelope Cruz is a standard, street smart, capable pirate, written as nothing more than a foil of Jack Sparrow — who despite his center in the story, is no longer what the story is about.
The movie provides a compelling mystery, some entertaining scenes, powerful fantasy elements, and great visuals, but leaves a lot of open ended questions — like how does a mermaid save someone by dragging them to the ocean floor?
In all it was a memory of the Pirates movies that we all loved. Entertaining, just don’t over-think it. It makes you want to watch the first movies again.
Dead Men Tell No Tales
Finally (so far) Dead Men Tell No Tales centers on newer characters – the children of our previous heroes, bent on saving their lost forebears. It introduces the premise of a cursed Spanish Galleon with an everlasting hatred of Pirates revived from the depths to hunt, of course, Jack Sparrow. Great performance by Javier Bardem for sure, and solid visual effects work as expected (though the younger flashback seemed indulgent).
This movie raises very few interesting questions, unfortunately, after the introduction of the Spaniard. Jack sparrow is now nothing more than comic relief, and the only character worth sympathy is Barbossa. Performances are professional from the A-level cast, but the story is not about them.
Clearly intended to hand the franchise off to new characters — who unfortunately are already fully formed. Both are smart enough to have read every legend on pirates, or science of the stars, are sure enough of themselves to approach captains and magistrates with full intent of their superiority, or that of their cause. The only mystery that of a bejeweled journal, to find Poseidon’s trident (because finding the flying Dutchman can now be accomplished by a 12 year old). A mystery only they can solve.
Performances of a few of the original cast read like exactly what they were … cameos. What suffers most, is not the visuals, nor the concept, but the fully self-actuated characters who have nowhere to grow, and a story full of few questions we don’t need answered.
It seems to be a current problem with a lot of the writing in franchise films — answering the questions introduced by the film, and caring enough for them to be answered by someone we want to care about for two hours.
“Shiny, you say?”
The Pirates of the Caribbean franchise, having fallen relatively quiet due to the ill winds of less than stellar writing, has one thing always going for it. Every iteration continues to remind us of its greatness in the past, and invites us to once more sail the seas in search of that horizon. Although we may not have a magical compass, or a heading to yet another sequel that will drag out our memories, we have the previous films at our fingertips, and a theme park we can ride on and feel the inspiration. We at least know what we want.
So creative professionals. Remember the roots of a good story. Remember that character must grow. Remember to give people an adventure. Make them laugh, cry, cringe. Give them a reason to spend $26 a ticket, that they will say is worth it.
It’s just good business.
Now stop reading this, and go watch these films again.