“PIRATES OF THE CARIBBEAN: Consequences”

“PIRATES OF THE CARIBBEAN: Consequences”

Has anyone noticed something odd about the main characters in the 2007 movie, “PIRATES OF THE CARIBBEAN: AT WORLD’S END”? Most or all of them either ended up with a less than happy ending or with their fates up in the air. 

If one must be brutally honest, the franchise’s main characters had committed some kind of questionable act or one dangerous to others. Jack Sparrow was a pirate, who had no qualms about using others for his own personal gain. And that included bartering the former blacksmith apprentice Will Turner to Davy Jones in 2006’s “PIRATES OF THE CARIBBEAN: DEAD MAN’S CHEST”in order to avoid paying his debt to Jones . . . and lying to Will’s fiancee, Elizabeth Swann, about it. Captain Hector Barbossa, as well all know, was a murderous pirate who led a mutiny against Jack, threatened the lives of many and also double-crossed sorceress Tia Dalma by tossing her into the Black Pearl’s brig in “AT WORLD’S END”. And then there is the straight arrow Will, who turned out to be not so straight in terms of morality. He had left Jack to the mercies of Barbossa and the latter’s crew in 2003’s “PIRATES OF THE CARIBBEAN: CURSE OF THE BLACK PEARL” and double-crossed the Pearl’s crew to pirate Captain Sao Feng and the East India Trading Company in order to get his hands on the ship in the 2007 movie. Will’s beloved and future Pirate King – Elizabeth committed one of the worst acts by leaving Jack shackled to the Black Pearl in order for the latter to be killed by Davy Jones’ pet, the Kracken, near the end of “DEAD MAN’S CHEST”. And in that same movie, former Royal Navy commodore James Norrington betrayed his new crew members from the Black Pearl, by stealing Davy Jones’ heart and handing it over to the villainous Lord Cutler Beckett of the East India Trading Company in order to regain his military position in society.

Not exactly a sweet bunch, are they? Many societies, religious and what-have-you, seemed to believe in the old adage of what goes around, comes around. Or paying the consequences of one’s actions. My favorite happens to be – “Payback’s a bitch”. And judging from the fates of the major characters in the franchise, all of them – in one form or the other – seemed to have paid the consequences of their actions.

For Norrington, payback came in the form of death at the hands of Will’s poor deluded pirate father “Bootstrap” Bill Turner, when he helped Elizabeth and Sao Feng’s crew escape from the Flying Dutchman’s brig. After marrying Will during a battle against Jones and his crew, Elizabeth found herself nearly a widow and facing twenty years of marriage . . . without her husband. And where was Will? During that battle, Jones stabbed him with the sword he had made for Norrington. And when Jack helped him stab Jones’ heart before he could die, Will became the new captain of the Flying Dutchman, ferrying souls lost at sea to “the other side” . . . and apart from Elizabeth for every ten years. Barbossa seemed to have had it made in the end. He managed to get back the Black Pearl from Jack. Unfortunately, he found himself facing a possible mutiny due to Jack’s theft of Sao Feng’s chart that could lead them all to a new treasure. Later, he lost both the Black Pearl and his leg to the even more notorious pirate, Blackbeard in the 2011 film, “PIRATES OF THE CARIBBEAN: ON STRANGER TIDES”, and went through a great deal of trouble to get revenge and a new ship. And yet . . . fate caught up with Barbossa again when he and Jack faced Captain Armando Salazar. And what about dear old Jack? Well . . . he found himself left behind at Tortuga, after Barbossa took the Black Pearl from him again. It took him quite a while to get the Black Pearl back, but not without being hunted by British justice and shanghaied by Blackbeard, who needed Jack to find the Fountain of Youth. It took Jack even longer to return the Black Pearl to its original size.

Mind you some of the characters like Norrington and Will suffered a more severe consequence than the other characters. But not one of them had the glowingly “happily ever after” that was seen in the conclusion of “AT WORLD’S END”. Will and Elizabeth’s “happily ever after” in the 2007 movie’s post-credits was only temporary. The couple had to wait at least two decades before they were finally reunited permanently in near the end of “PIRATES OF THE CARIBBEAN: DEAD MEN TELL NO TALES”. A part of me found myself wondering they had encountered any problems in their reunion. After all, Will and Elizabeth had to adjust being together as husband and wife. And Will had to learn to be a father . . . something of which Elizabeth had at least twenty years of experience.

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“PIRATES OF THE CARIBBEAN: DEAD MEN TELL NO TALES” (2017) Review

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“PIRATES OF THE CARIBBEAN: DEAD MEN TELL NO TALES” (2017) Review

I have a confession to make. When the Disney Studios had released the fourth movie in the “PIRATES OF THE CARIBBEAN” franchise, I wished they had never done it. I wished that a fourth film had never been made. I also believed that the franchise was fine after three movies. Then I learned that a fifth film was scheduled to be released this summer and . . . yeah, I was not pleased by the news. But considering that I can be such a whore for summer blockbusters, I knew that I would be watching it. 

Directed by Joachim Rønning and Espen Sandberg, “PIRATES OF THE CARIBBEAN: DEAD MEN TELL NO TALES” seemed to be a story about the search for the trident of the sea god Poseidon. Two years after the post-credit scene from 2007’s “PIRATES OF THE CARIBBEAN: AT WORLD’S END”, Henry Turner, the son of Will Turner and Elizabeth Swann Turner boards the Flying Dutchman to inform his father of his discovery that the mythical Trident of Poseidon is able to break the Flying Dutchman’s curse and free him from his ship. Henry plans to seek Jack Sparrow’s help to find it. Will does not believe the Trident exists and orders Henry to leave his ship and stay away from Jack. Nine years later, Henry finds himself serving aboard a British Royal Navy warship as a seaman. He realizes the ship is sailing into the Devil’s Triangle. The captain dismisses his concerns and has Henry locked up for attempting a mutiny. Upon entering the Triangle, the ship’s crew discovers a shipwreck that belongs to a Spanish Navy officer named Captain Armando Salazar and his crew, who had become part of the undead after being lured into the Triangle. Salazar and his crew slaughter everyone on board the warship, except for Henry. Discovering that Henry is searching for Jack, Salazar instructs Henry to tell Jack that death is coming his way. Some twenty to thirty years earlier, Salazar was a notorious pirate hunter who had been lured into the Triangle and killed by Jack, who was the young captain of the Wicked Wench at the time. Due to the Triangle’s magic, Salazar and his crew became part of the undead.

Years later, a young woman named Carina Smyth is about to be executed for witchcraft on the British-held island of Saint Martin, due to her knowledge of astronomy and horology. She is also interested in finding the Trident, for she sees it as a clue to her parentage. During a prison break, she gets caught up in an attempt by Jack and his small crew, which includes Joshamee Gibbs and Scrum (from the fourth film), to steal a bank vault on the island of Saint Martin. Jack is abandoned by his crew when the vault turns up empty. Desolate, he gives up his magical compass for a drink at a tavern and unexpectedly frees Salazar and his crew from the Triangle. He is also captured by the British Army. Carina meets Henry, who is awaiting execution for what happened aboard his ship. Both realize that for different reasons, they are searching for Poseidon’s Trident. Henry escapes, but Carina finds herself a prisoner again. Henry arranges both hers and Jack’s escape from execution. Jack also becomes interested in finding the Trident, for he hopes to use it free himself from Salazar’s wrath.

I once came upon an article that complained about the lack of consistency in the “PIRATES OF THE CARIBBEAN”franchise. When I first heard about this movie, I must admit that I was annoyed to learn that Will Turner would still be entrapped by the Flying Dutchman curse after the post-credit scene from “AT WORLD’S END”. I realize that the Disney suits had believed that Will was permanently trapped by the Flying Dutchman curse, but I thought that Terry Rossio and Ted Elliott’s claim – that Elizabeth’s ten year wait – had broken the curse. Apparently I was wrong . . . and annoyed at the same time. But Will’s situation was a mere annoyance for me. The situation regarding Jack’s compass – you know, the one that directs a person to one’s heart desire – really annoyed me. According to the 2006 movie, “PIRATES OF THE CARIBBEAN: DEAD MAN’S CHEST”, Jack had first acquired the compass from Vodou priestess Tia Dalma aka the goddess Calypso. Yet, according to a flashback in this movie, Jack was given the compass from his dying captain, during the Wicked Wench’s encounter with Captain Salazar. What else is there to say, but . . . blooper.

Another matter that annoyed me was the setting for the protagonists’ final battle against Captain Salazar and his crew. I wish I could explain it. I believe that the setting was located . . . underwater, thanks to the mysterious stone that Carina Smyth had inherited from her parents. I simply found it murky and unsatisfying. And I wish that final conflict had been set elsewhere. I have one last complaint. The movie’s post-credit scene featured a character’s dream of former antagonist Captain Davy Jones in shadow form. The character had awaken, but the scene’s last shot focused on puddles of water and a few bits of tentacles. Was this the franchise’s way of hinting the return of Davy Jones? I hope not. Captain Jones was a great villain, but two movies featuring his character were enough. The last thing I want to see in another film is the return of the Flying Dutchman curse or Jones.

Yes, “PIRATES OF THE CARIBBEAN: DEAD MEN TELL NO TALES” has its flaws. But it also had plenty of virtues that made me enjoy the film. One of the aspects of the film that I enjoyed was the story written by Jeff Nathanson and Terry Rossio. Old “ghosts” from the past have always played a role in the plots from the franchise’s past four films. But the past played a major, major role in this film for not only Jack Sparrow, but also four other characters – Henry Turner, Carina Smyth, Hector Barbossa and even Captain Armando Salazar. I found the story between Jack and Captain Salazar rather ironic, considering that the latter proved to be the franchise’s first villain to seek personal revenge against the former. For the other three, I found their stories rather poignant in the end. And because of this, I found “DEAD MEN TELL NO TALES” to be the most emotionally satisfying entry in the franchise. This proved to be the only PIRATES OF THE CARIBBEAN film in which I broke into tears at least three times.

Poignant or not, the franchise’s trademark humor and action were on full display in this movie. In fact, I can think of at least three major scenes that I believe effectively displayed both traits. One of them involved Jack and the Dying Gull (appropriate name for Jack’s latest ship) crew’s attempt to rob the new bank on Saint Martin. Not only did it lead to Carina’s first escape from a hangman’s noose, but also a merry chase that involved the Dying Gull’s crew, the British Army, along with Jack and the banker’s wife inside of a stolen vault. The second scene that had me both laughing and on edge involved Henry and the Dying Gull’s successful rescue of Jack and Carina from being hanged. The third scene had me more on edge than laughing for it involved Jack, Henry and Carina’s attempt to survive Salazar’s attack upon their rowboat (ghost shark anyone?) as they headed for shore.

“DEAD MEN TELL NO TALES” featured the fourth major location for the movie franchise – Australia. Although I found it a pity that the movie did not use any of the Caribbean islands for filming locations, I must admit that production designer Nigel Phelps made great use of the Australian locale, especially in his creation of the Saint Martin town and the Turners’ home. On the other hand, I found Paul Cameron’s photography rather beautiful, colorful and sharp. I thought Roger Barton and Leigh Folsom Boyd’s film editing was first-rate, especially in the action sequences that featured the bank vault chase, the rescue of Jack and Carina, and the shark attack. I wish I could say the same about the final action sequence, but I must admit that I was not that impressed.

I was impressed by the performances featured in “DEAD MEN TELL NO TALES”. The movie possessed a first-rate supporting cast that featured the return of Kevin R. McNally as Joshamee Gibbs, Stephen Graham as Scrum, Martin Klebba as Marty, Angus Barnett as Mullroy and Giles New as Murtogg. Scrum, who was last seen as part of Hector Barbossa’s Queen Anne’s Revenge crew, had decided to join Jack Sparrow’s crew aboard the Dying Gull. And the presence of Marty, Mullroy and Murtogg revealed that Barbossa was not the only who had escaped Blackbeard’s capture of the Black Pearl. The movie also revealed the return of Orlando Bloom and Keira Knightley as Will Turner and Elizabeth. Their final reunion near the end of the film proved to be one of the most emotionally satisfying and poignant moments in the entire franchise.

There were other great supporting performances that caught my eye. One came from David Wenham, who was in fine, villainous form as Lieutenant John Scarfield, a very bigoted Royal Navy officer who was after Jack, Henry Turner and Carina Smyth. Golshifteh Farahani gave a rather interesting and strange performance as a witch named Shansa, whom many seafarers sought for advice. Adam Brown (from “THE HOBBIT” Trilogy) and Delroy Atkinson proved to be entertaining additions to Jack’s crew and the franchise. Juan Carlos Vellido gave a rather intense performance as Captain Salazar’s first officer, Lieutenant Lesaro. Since Keith Richards was unable to return as Jack’s father, Captain Edward Teague, producer Jerry Brockheimer managed to cast former Beatles Paul McCartney as the former’s brother and Jack’s uncle, Jack Teague. And I did not know that McCartney was not only a first-rate actor, but one with great comic timing.

I had been familiar with Brenton Thwaites’ previous work in movies like “MALEFICENT” and “GODS OF EGYPT”. But I was surprised by how much I enjoyed his portrayal of Will and Elizabeth’s son, Henry Turner. Thwaites did an excellent job in combining the traits of Henry’s parents, while making the character a complete individual on his own. Kaya Scodelario was equally effective as science enthusiast, Carina Smyth. Thanks to Scodelario’s skillful performance, Carina was an intelligent and charismatic woman. The actress also had a strong screen chemistry with her co-star, Thwaites.

But the three performances that stood above the others came from Geoffrey Rush, Javier Bardem and of course, Johnny Depp. It is hard to believe that Rush first portrayed Hector Barbossa as a slightly crude, yet cunning, cold-blooded and ambitious pirate. Thanks to Rush’s superb portrayal, Barbossa still possessed those traits, but the latter had developed into a successful man, who also possessed a heartbreaking secret that he managed to keep close to his chest. I must admit that I did not particular care for Javier Bardem’s portrayal as a Bond villain in 2012’s “SKYFALL”. I found it too hammy. Thankfully, Bardem’s portrayal of the villainous Captain Armando Salazar seemed a great deal more skillful to me. Bardem’s Armando Salazar was no mere over-the-top villain, but a vengeful wraith willing to use any method and form of manipulation to capture his prey. Someone once complained that Depp’s Jack Sparrow seemed different or a ghost of his former self. I could not agree. Depp’s Sparrow was just as selfish, manipulative, horny and humorous as ever. Yet, this Jack Sparrow was at least nineteen years older than he was in “PIRATES OF THE CARIBBEAN: AT WORLD’S END”. Despite having a miniaturized Black Pearl in his possession for several years, Jack has been forced to settle for a creaking tub called the Dying Gull and a small crew. Worse, he and his men have experienced a series of failures in their attempt to make that great score. If Jack seemed a bit different in this film, it is because he is older and not as successful as he would like to be. And Depp, being the superb actor that he is, did an excellent job in conveying Jack’s current failures in his performance.

Would I regard “PIRATES OF THE CARIBBEAN: DEAD MEN TELL NO TALES” as my favorite film in the Disney franchise? Hmmm . . . no. The movie possessed one or two bloopers in regard to the franchise’s main narrative. I was not that impressed by the watery setting for Jack and Salazar’s final confrontation. And I did not care for the hint of a past villain’s return in the film’s post-credit scene. But I really enjoyed the excellent performances by a cast led by the always talented Johnny Depp and the first-rate direction of Joachim Rønning and Espen Sandberg. And I especially story created by Jeff Nathanson and Terry Rossio. Not only did it feature the usual hallmarks of a first-rate PIRATES OF THE CARIBBEAN film, for me it made “DEAD MEN TELL NO TALES” the most poignant and emotionally satisfying movie in the entire franchise.

“MALEFICENT” (2014) Review

 

“MALEFICENT” (2014) Review

I am probably the last person on this earth who would associate Angelina Jolie with a Disney film, let alone one made for children. Then again, I have never seen Jolie in another movie like her recent film, “MALEFICENT”.

Despite some adult themes found in this new film, I honestly believe that “MALEFICENT” is basically a movie for children. It is not just based upon Charles Perrault’s 1697 fairy tale, “La Belle au Bois Dormant”, but also the Disney Studios’ 1959 animated adaptation, “SLEEPING BEAUTY”. Only this film is told with a twist. Some would say with a feminist twist. Linda Woolverton’s screenplay features the story’s main villainess, the evil and vindictive fairy, Maleficent, as the movie’s main protagonist. The film begins with Maleficent as a young and powerful fairy who serves as the main protector of a fairy realm called Moors that borders a human kingdom ruled by ruthless monarch named King Henry, who covets it. Maleficent befriends a young boy named Stefan, who works as a kitchen servant for the king.

The years pass as Maleficent and Stefan’s friendship grows to something close to a romance. But King Henry’s latest attempt to invade Moors leads him to offer his daughter’s hand in marriage and his kingdom to the man able to kill Maleficent. Ambitious and longing to rise above his station, Stefan sets out to collect the bounty on his old friend. Unable to kill her because of their friendship, Stefan drugs Maleficent and burns her wings off with iron (a substance lethal to fairies) and presents the latter to King Henry as proof of her death. Stefan eventually marries King Henry’s daughter, Princess Leila, and eventually assumes the throne following his father-in-law’s death. When Maleficent learns about the birth of Stefan and Leila’s infant daughter, Aurora, she appears uninvited at the christening and places a curse on the infant princess. On her sixteenth birthday, Aurora will prick her finger on the spindle of a spinning wheel and fall into a death-like sleep. After Stefan is forced by Maleficent to beg for his daughter, she alters the curse with the addition that it can be broken by true love’s kiss. Stefan arranges for Aurora to be raised by three pixie fairies – Knotgrass, Flittle and Thistlewit. And despite her initial dislike of Aurora, Maleficent begins to secretly care about the girl, when the neglectful pixie fairies fail to take properly care of her.

There is a good number of elements for “MALEFICENT” that I found very admirable. I believe it is one of the more visually stunning films I have seen in recent years. A great deal of credit has to go to Dylan Cole and Gary Freeman’s production designs. The pair did an excellent job in recapturing medieval life . . . at least in a fantasy world. Dean Semler’s photography of parts of rural England, which served as King Stefan’s realm, added to the movie’s visual style. But the work from the special effects team, especially for creation of the fairy realm and other sequences that featured magic, truly enhanced the movie’s visual style. I also have to add a word about Anna B. Sheppard’s costume designs for the film. I could wax lyrical on how beautiful they looked. But there are times when I believe that images can speak louder than words:

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I will not claim that Sheppard’s costumes are an accurate reflection of medieval fashion. But . . . hey! I cannot deny that I found them beautiful.

As for the plot for “MALEFICENT”, I cannot deny that it proved to be something of a conundrum for me. Woolverton’s screenplay and Robert Stromberg’s direction clearly seemed to hint that it is basically a movie for children. The dialogue, the movie’s style of humor and especially its use of the three fairy sisters as the movie’s comic relief practically screams “Kiddie Film” to me. And yet . . . Woolverton’s screenplay also featured elements that seemed to indicate a movie with strong adult themes. The most obvious element proved to be the theft of Maleficent’s wings. Unless I am mistaken, the entire scene struck me as a metaphor for rape. Think about it. Stefan drugs Maleficent (a stand-in for any rape drug) to knock her unconscious. Using iron – an indication of violence – he physically violates her by burning off her wings. The relationship that develops between Maleficent and Aurora not only proved to be unexpected, but is given a feminist twist. Aside from Maleficent’s relationship with her aide Diaval, a raven whom she had saved by transforming him into a human; the male-female relationships in this movie proved to be either ineffective or disastrous. Even the use of “True Love’s Kiss” had a twist I had failed to foresee . . . until several minutes before it actually occurred.

There have been other productions – both television and film – that mixed elements of children’s stories and adult themes. ABC Television’s “ONCE UPON A TIME” seemed to use a great deal of adult themes in its twist on fairy tales. Yet, the series continues to maintain some semblance of childlike morality in its portrayal of magic. J.K. Rowling’s “HARRY POTTER” literary (and film adaptations) series becomes increasingly ambiguous as the saga progresses. And aside from the first film, George Lucas’ “STAR WARS” film saga strikes me as a case study of moral ambiguity with touches of humor and characterizations for children. But these science-fiction/fantasy sagas seem capable of balancing humor and storytelling for children with adult themes.

I cannot say the same about “MALEFICENT”. The movie’s childish humor – courtesy of the three fairy sisters – struck me as heavy-handed and not at all funny. I also believe the movie’s 97-minute running time made it difficult for Woolverton’s script to maintain that balance between children and adult themes. More importantly, the movie’s running time forced Stromberg and Woolverton to rush the story forward at a unnecessarily fast pace, especially during the movie’s last half hour. Other aspects of the plot – Maleficent’s background, her relationships with both Stefan and Diaval, and especially her developing relationship with Aurora. But there are two aspects that struck me as rushed – namely Aurora’s relationship with the fairy sisters (which barely seemed to exist) and the last half hour in which the sleeping curse is played out. I cannot help but wonder if Disney’s penchant for cinematic penny-pinching forced Stromberg and Woolverton to rush the movie’s climatic act.

I certainly had no problems with the movie’s performances. Angelina Jolie was outstanding as the movie’s protagonist, the fairy Maleficent. Being the top-notch actress that she is, Jolie effortlessly captured every nuance of Maleficent’s character – both the good and the bad. I have been a great admirer of Sharlto Copley in the past – with the exception of his villainous turn in the 2013 sci-fi movie, “ELYSIUM”. Thankfully, his complex portrayal of this movie’s villain, King Stefan, reminded me of his skill at portraying complex roles. At first, Elle Fanning seemed to be stuck with a role that struck me very sweet, kind . . . and boring. Fortunately for her, the Princess Aurora character became more interesting in the movie’s second half and Fanning got the chance to show off her acting chops – especially in the scene in which Aurora confronts Maleficent about the curse.

The movie also featured solid performances from Sam Riley as Maleficent’s confidant Diaval, Kenneth Cranham as King Henry and Hannah New as Queen Leila. I have been longtime fans of Imelda Staunton, Lesley Manville and Juno Temple. But I have to be honest – I was not that impressed by their portrayals of the three fairy sisters. It was quite obvious to me that Staunton, Manville and Temple did their best to make the three sisters – Knotgrass, Flittle and Thistlewit – interesting. Nor can I accuse them of bad acting. They were obviously giving it their all. There are times when external forces have a way of affecting an actor or actress’ performance, whether due to bad direction or bad writing. In the case of the three actresses who portrayed Aurora’s fairy guardians, I suspect their performances were sabotaged by Linda Woolverton’s writing. The screenwriter’s sense of humor struck me as subtle as a stampeding buffalo. I also believe that her screenplay may have hampered Brenton Thwaites’ performance as Prince Philip. How can I put it? Thwaites gave a bland and boring performance, because he was forced to portrayed a bland and boring character. The 1959 animated version of the prince had more zing than this latest version. And I blame Woolverton’s screenplay, not the actor.

Do not get me wrong. I rather liked “MALEFICENT”. I found it to be a visually stunning film with some strong moral ambiguity in its plot and in some of the major characters, and a solid cast led by outstanding performances from Angelina Jolie and Sharlto Copley. I also enjoyed the feminist twist on the “Sleeping Beauty” tale. But due to some flawed characterizations and a failure to balance both the children and adult theme in its plot, I can honestly say that I did not love “MALEFICENT”.