Post-millennial audiences have basically forgotten how to go to the movies. The home theater experience and its myriad of personal perks (readily available bathroom breaks, unlimited snacking, selfish screening time management) have turned the average film fan into an impatient instant gratification addict. A big screen release has to deliver, and deliver quickly, or attention spans shift and butts begin to stiffen. This may explain the near 50/50 split on the viability of Gore Verbinski’s amazing old school blockbuster Pirates of the Caribbean: At World’s End. Half the critical community found the film an honorable companion piece to the previous buccaneer blasts. But an equal number are not that happy at all, arguing that whatever entertainment value Parts 1 and 2 contained, this one is adrift on a sea of stunted amusements.
Let’s start with the chief complaints against this final facet of the ‘current’ franchise (don’t worry, more movies are inevitable – Tinsel Town never kills outright this kind of cash cow). First off, there’s the grievance that, at two hours and forty-nine minutes, the narrative goes on for far too long. Well, when you’re working through an entire mythology that reaches back across two complete films, as well as a great deal of suggested storylines, you’re wrap-up is going to be gargantuan. Besides, like Roger Ebert once said, no ‘good’ motion picture is ever too long, and Pirates 3 is an amazing entertainment. The second objection rides on the so-called ‘ridiculous’ amount of characters connected to the resolution. Yes, there are a lot of loose ends to tie up here, but who would you eradicate in the process? Would you pull an Aliens3 on some of the supporting cast and kill them off during the opening credits? Perhaps put a few familiar faces in the gallows line-up that opens the film?
No, epic scope and far too many important personalities are what this incredibly accomplished send-off thrives on. For those who hated, or couldn’t handle the introduction of Davy Jones and his craven crustacean crew during Part 2, or longed for the sudden surprise of finding a Disney attraction offering that didn’t instantly suck on ice (ala Part 1), this will not be the movie for you. Instead, this journey to the ends of the Earth in search of closure – and a certain suave scallywag – is anxious to amplify the overall importance of events we’ve seen previously, while adding even more outlandish elements to the already overreaching yarn. Indeed, like the first films founded in the pure popcorn paradigm, director Verbinski is out to change the overall flavor of motion picture eye candy. No matter your issues with the overlong narrative or wealth of unnecessary characters, no one can deny the spectacle of the final pirate stand-off deep inside a whirlpooling maelstrom. It remains one of the series most sensational defining moments.
Equally impressive is the first act descent into Davy Jones’ notorious ‘locker’. Turns out the place is more like purgatory – a lonely, desolate locale where Sisyphean tasks await the unlikely visitor. For those in the audience who’ve sat back impatiently wondering just where the Heck Johnny Depp has been hiding for the last 45 minutes, his clone-addled insanity (Capt. Jack is confronted by multiple version/visions of himself) is like a Super-Sized helping of the popular knave. Our unlikely superstar still finds ways of making this character likeable and unique, but it’s important to note that Jack will not be the sole focus here – and Depp knows it. He makes the most of his moments without overstaying his welcome. Instead, he provides the usual cinematic spice this entire series loves to thrive on.
Once we’ve move beyond Chow Yun Fat and his Hook-like seaport of Shanghai (the most unrealistic element in this entire fantasy film) we get locked into the storytelling mechanisms moving briskly by. Again, there’s no denying that the movie is plot driven, but to call it overdone or confusing is hogwash. In fact, the plot often feels like the Lucas crafted designs for Star Wars. The original 1977 blockbuster was a clever combination of recognizable genres types (the Western, the serial) with self-started and generated mythology interspersed throughout. Here, Verbinksi takes the typical high seas adventure yarn, mixes in a few post-modern references of his own, and then inserts lots of lore about ocean goddesses, afterlife debts to pay, and personal crises that must be confronted and conquered. As long as you’re attentive and open to the overall experience, you’ll easily comprehend the movie’s motivational machinery. If you’re too busy text messaging your “bff”, you’ll likely get lost.
The reference to a certain motion picture set in a ‘galaxy far, far away’ is also apropos for what Pirates of the Caribbean: At World’s End strives for, from an entertainment standpoint. Like the popcorn movies of old, this is an experience as much as it is a film, a chance for audiences to get lost in elements they rarely experience in life. Oddly enough, the year before Wars arrived at theaters, Universal tried to jumpstart the pirate movie with Swashbuckler. Featuring Robert Shaw, James Earl Jones and Peter Boyle, it didn’t do well at the box office, but did set the contemporary schematics for future attempts at the sea-faring saga to follow. By utilizing the ‘yo ho ho and a bottle of rum’ archetypes within a new kind of updated narrative, director James Goldstone overhauled the entire formula. Seventies audiences just weren’t ready for the retrofitting.
Something similar could be said for modern crowds. When the first Pirates hit, it’s clear that Producer Jerrry Bruckheimer felt it was the superb supernatural angle that wowed viewers. That’s why the sequel is inundated with as many CGI and make-up monster men as possible. In Part 3, all that’s been abandoned. Now we get more of the sensational swordplay and keel-hauling adventure that recalls the grand spectacles of old. In some ways, these movies are like templates, picking and choosing the homages and references they need to succeed before moving on to another character’s individual dilemma. Without the numerous personalities to contend with, the plot would become needlessly repetitive. With a merry band of important entities, every turn of the storyline screw is important.
Still, it’s not hard to see fans giving up on this entire enterprise. They’ve been fed a failed bill of goods by a critical contingency that can’t make up its mind on what is acceptable and what is awful. For everyone comparing this film to the Matrix or Terminator titles, the point has some validity. Both initial movies were made as stand alone statements, lacking the open ended leanings that something similar to Spider-Man offers. To flesh them out, one had to use the original idea as ballast, while battling the demands of studio interference and fan anticipation. That something remotely entertaining comes out of such a schism is high praise indeed. In the case of Pirates of the Caribbean: At World’s End, the successes far outweigh the incredibly minor quibbles - not that the present demographic is patient enough to see it for themselves.
We all know how critical it is to keep independent voices alive and strong on the Internet. Please consider a donation to support our work as independent cultural critics and historians. Your donation will help PopMatters stay viable through these changing and challenging times where costs have risen and advertising has dropped precipitously. We need your help to keep PopMatters strong and growing. Thank you.
// Moving Pixels
"Door Kickers is not a multiplayer game, but for a while there, I couldn’t tell the difference.READ the article