Psycho's Movie Reviews #420: Pirates Of The Caribbean: The Curse Of The Black Pearl (2003)

Pirates of the Caribbean: The Curse of the Black Pearl is a 2003 American fantasy swashbuckler film directed by Gore Verbinski and the first film in the Pirates of the Caribbean film series. Produced by Walt Disney Pictures and Jerry Bruckheimer, the film is based on Walt Disney's Pirates of the Caribbean attraction at Disney theme parks. The story follows pirate Jack Sparrow (Johnny Depp) and blacksmith Will Turner (Orlando Bloom) as they rescue the kidnapped Elizabeth Swann (Keira Knightley) from the cursed crew of the Black Pearl, captained by Hector Barbossa (Geoffrey Rush), who become undead skeletons in moonlight.

Jay Wolpert developed a script in 2001, and Stuart Beattie rewrote it in early 2002. Around that time, producer Jerry Bruckheimer became involved in the project; he had Ted Elliott and Terry Rossio work on the script, adding the plot device of a supernatural curse to the story to bring it in line with the original theme park ride. Filming took place from October 2002 to March 2003 in Saint Vincent and the Grenadines and on sets constructed around Los Angeles, California. It was also notable for being the first film released under the Walt Disney Pictures banner to be rated PG-13 by the MPAA.

The film's world premiere was held at Disneyland Park in Anaheim, California on June 28, 2003. Despite low expectations, the film was a huge box-office success, grossed $654.3 million worldwide; making it the fourth-highest-grossing film of 2003. It received generally positive reviews from critics, with Depp's performance receiving universal acclaim. The film has been widely cited as the film that launched Depp as a box office leading man after many years as a cult movie star. Depp won the Screen Actors Guild Award for Outstanding Performance by a Male Actor in a Leading Role, in addition to Best Actor nominations at the Academy Awards, BAFTAs, and Golden Globes. The Curse of the Black Pearl was also nominated for four other Academy Awards and BAFTAs. The film became the first in a franchise, with two back-to-back sequels, Dead Man's Chest and At World's End, released in 2006 and 2007. Two more sequels, On Stranger Tides and Dead Men Tell No Tales, were released in 2011 and 2017, respectively.

Plot

In 1720, while sailing to Port Royal, Jamaica aboard HMS Dauntless, Governor Weatherby Swann, his daughter Elizabeth and crew encounter a shipwreck and recover a boy, Will Turner. Elizabeth discovers a golden pirate medallion around his neck, and takes it. Eight years later, Lieutenant James Norrington is promoted to commodore and proposes to Elizabeth. Her corset makes her faint and fall into the sea, causing the medallion to emit a pulse. Captain Jack Sparrow, having just arrived in Port Royal to commandeer a ship, rescues Elizabeth. Norrington identifies Jack as a pirate, and a chase ensues. Jack encounters Will, now a blacksmith. They duel, and Jack is imprisoned. That night, the Black Pearl attacks Port Royal, searching for the medallion. The crew of the Pearl captures Elizabeth, taking her to meet Captain Barbossa. Elizabeth claims her last name is Turner to conceal her identity as the governor's daughter. Barbossa explains that the medallion is one of 882 gold pieces that his crew took from a treasure of Hernán Cortés on Isla de Muerta. This cursed Barbossa and his crew, turning them into immortals who appear skeletal in moonlight. Barbossa and his crew have returned all but one of the pieces, with Elizabeth's medallion being the final piece. Barbossa takes her prisoner, believing she is the daughter of William "Bootstrap Bill" Turner, whose blood is needed to lift the curse.

Will frees Jack to rescue Elizabeth, whom Will loves. Jack, the previous captain of the Black Pearl before Barbossa staged a mutiny, makes a deal with Will to reclaim his ship. The two commandeer HMS Interceptor, a small sloop-of-war, and head for Tortuga. There, Jack enlists Gibbs to help them assemble a crew. Chasing the Pearl to the Isla de Muerta, Will and Jack witness Barbossa sacrificing Elizabeth's blood and returning the final gold piece. The curse is not lifted because Elizabeth does not carry the blood of Bootstrap Bill, Will's father and a previous crewmate of the Pearl. Will rescues Elizabeth and brings her to the Interceptor, while Jack is captured by Barbossa and locked in the brig of the Pearl. The Pearl pursues the Interceptor, destroying the ship and taking Jack's crew hostage. Will makes a deal with Barbossa to release Elizabeth in exchange for his blood, but Barbossa exploits a loophole in the agreement, marooning Jack and Elizabeth on an island. Elizabeth makes a smoke signal, and Norrington brings the Dauntless to rescue Elizabeth and arrest Jack. Elizabeth asks Norrington to pursue the Pearl and save Will, convincing him by accepting Norrington's marriage proposal.

That night, the Dauntless arrives at Isla de Muerta. Jack tells Norrington he will lure the pirates out to be ambushed by the crew of the Dauntless, but instead persuades Barbossa's crew to attack the Dauntless before they lift the curse and lose their immortality. Elizabeth escapes the Dauntless and frees Jack's crew from the brig of the Pearl. They refuse to rescue Jack and Will, so Elizabeth sets out on her own while Jack's crew depart aboard the Pearl. Jack again switches sides, freeing Will and duelling Barbossa, while Elizabeth and Will fight off Barbossa's crewmen. When Barbossa stabs Jack, it is revealed that Jack took a piece of gold from the chest and is likewise cursed and unable to die. Jack shoots Barbossa, and Will returns both coins to the chest with his and Jack's blood on them. The curse is lifted; Barbossa dies from Jack's gunshot, and the rest of Barbossa's crew, no longer immortal, are arrested.

At Port Royal, Jack is to be hanged for piracy. Elizabeth diverts Norrington's attention while Will attempts a rescue, but Jack and Will are surrounded. Elizabeth intercedes and declares her love for Will. Governor Swann pardons Will and gives his blessing for Elizabeth to marry him. Jack dives into the sea and escapes aboard the nearby Pearl, reclaiming the ship and his new crew. Norrington permits Jack and the Pearl "one day's head start" before initiating pursuit.

Production

Development

During the early 1990s, screenwriters Ted Elliott and Terry Rossio began to think of a supernatural spin on the pirate genre. Walt Disney Pictures had Jay Wolpert write a script based on the ride in 2001, which was based on a story created by the executives Brigham Taylor, Michael Haynes, and Josh Harmon. This story featured Will Turner as a prison guard who releases Sparrow to rescue Elizabeth, who is being held for ransom money by Captain Blackheart.

Disney was unsure whether to release the film in theaters or direct-to-video. The studio was interested in Matthew McConaughey as Sparrow because of his resemblance to Burt Lancaster, who had inspired that script's interpretation of the character. If they chose to release it direct-to-video, Christopher Walken or Cary Elwes would have been their first choices.

Stuart Beattie was brought in to rewrite the script in March 2002, because of his knowledge of piracy. When Dick Cook managed to convince producer Jerry Bruckheimer to join the project, he rejected the script because it was "a straight pirate movie." Later in March 2002, he brought Elliott and Rossio, who suggested making a supernatural curse—as described in the opening narration of the ride—the film's plot.

In May 2002, Gore Verbinski signed on to direct Pirates of the Caribbean. He was attracted to the idea of using modern technology to resurrect a genre that had disappeared after the Golden Age of Hollywood and recalled his childhood memories of the ride, feeling the film was an opportunity to pay tribute to the "scary and funny" tone of it.

Jim Carrey was considered for the part of Jack Sparrow. However, the production schedule for The Curse of the Black Pearl conflicted with Bruce Almighty. Others considered for the role include Michael Keaton and Christopher Walken. Although Cook had been a strong proponent of adapting Disney's rides into films, the box office failure of The Country Bears (2002) made Michael Eisner attempt to shut down production of Pirates of the Caribbean. However, Verbinski told his concept artists to keep working on the picture, and when Eisner came to visit, the executive was astonished by what had been created.

As recalled in the book DisneyWar, Eisner asked "Why does it have to cost so much?" Bruckheimer replied, "Your competition is spending $150 million," referring to franchises like The Lord of the Rings and The Matrix. Eisner concurred, but with the stigma attached to theme-park adaptations, Eisner requested Verbinski and Bruckheimer remove some of the more overt references to the ride in the script, such as a scene where Sparrow and Turner enter the cave via a waterfall.

Filming and Design

Verbinski did not want an entirely romanticized feel to the film: he wanted a sense of historical fantasy. Most of the actors wore prosthetics and contact lenses. Depp had contacts that acted as sunglasses, while Rush and Lee Arenberg wore dulled contacts that gave a sinister feel to the characters. Mackenzie Crook wore two contacts to represent his character's wooden eye: a soft version, and a harder version for when it protrudes. In addition, their rotten teeth and scurvy skin were dyed on, although Depp did have gold teeth added, which he forgot to remove after filming. Depp also used a genuine pistol which was made in 1760 in London, which the crew bought from a dealer in Connecticut. A number of swords were built for the production by blacksmith Tony Swatton. The crew spent five months creating the cavern in which Barbossa and the Black Pearl crew attempt to reverse their curse, filling it with five feet of water, 882 Aztec coins, and some gold paint on the styrofoam rocks for more impressions of treasure. The crew also built the fortress at Port Royal in Rancho Palos Verdes, California, and Governor Swann's palace was built at Manhattan Beach. A fire broke out in September 2002, causing $525,000 worth of damage, though no one was injured.

The filmmakers chose St. Vincent as their primary shooting location, as it contained the quietest beach they could find, and built three piers and a backlot for Port Royal and Tortuga. Of most importance to the film were the three ships: Black Pearl, Dauntless, and Interceptor. For budget reasons, the ships were built on docks, with only six days spent in the open sea for the battle between Black Pearl and Interceptor. Dauntless and Black Pearl were built on barges, with computer-generated imagery finishing the structures. Black Pearl was also built on the Spruce Goose stage, in order to control fog and lighting. Interceptor was a re-dressed Lady Washington, a full-scale replica sailing ship from Aberdeen, Washington, fully repainted before going on a 40-day voyage beginning December 2, 2002, arriving on location on January 12, 2003. A miniature was also built for the storm sequence.

Principal photography began on October 9, 2002 and wrapped by March 7, 2003. The quick shoot was only marred by two accidents: as Jack Sparrow steals Interceptor, three of the ropes attaching it to Dauntless did not break at first, and when they did snap, debris hit Depp's knee, though he was not injured, and the way the incident played out on film made it look like Sparrow merely ducks. A more humorous accident was when the boat Sparrow was supposed to arrive in at Port Royal sank. In October, the crew was shooting scenes at Rancho Palos Verdes, by December they were shooting at Saint Vincent and the Grenadines, and in January they were at the cavern set at Los Angeles. The script often changed with Elliott and Rossio on set, with additions such as Gibbs (Kevin McNally) telling Will how Sparrow allegedly escaped from an island—strapping two turtles together with rope made of his back hair—and Pryce was written into the climactic battle to keep some empathy for the audience.

Because of the quick schedule of the shoot, Industrial Light & Magic immediately began visual effects work. While the skeletal forms of the pirates revealed by moonlight take up relatively little screentime, the crew knew their computer-generated forms had to convince in terms of replicating performances and characteristics of the actors, or else the transition would not work. Each scene featuring them was shot twice: a reference plate with the actors, and then without them to add in the skeletons, an aesthetic complicated by Verbinski's decision to shoot the battles with handheld cameras. The actors also had to perform their scenes again on the motion capture stage. With the shoot only wrapping up four months before release, Verbinski spent 18-hour days on the edit, while at the same time spending time on 600 effects shots, 250 of which were merely removing modern sailboats from shots.

Music

The film score was composed by Klaus Badelt, while Hans Zimmer served as music producer. Seven other composers, including Geoff Zanelli, who later went on to compose the score for Pirates of the Caribbean: Dead Men Tell No Tales and Ramin Djawadi, are credited for "additional music". Verbinski oversaw the score with Badelt and Zimmer, who headed 15 composers to finish it quickly. Alan Silvestri, who had collaborated with Verbinski on Mouse Hunt and The Mexican, was set to compose the score, but Bruckheimer decided to go with Zimmer's team instead, who were frequent collaborators of his productions. Silvestri left the production before recording any material.

Release/Reception/Box Office

The first teaser trailer was attached to The Lord of the Rings: The Two Towers while the theatrical trailer debuted in front of Anger Management.

On review aggregator Rotten Tomatoes Pirates of the Caribbean: The Curse of the Black Pearl has an approval rating of 80% based on 220 reviews, and an average rating of 7.11/10. The site's critical consensus reads, "It may leave you exhausted like the theme park ride that inspired it; however, you'll have a good time when it's over." At Metacritic, which assigns a weighted average rating to reviews, the film received an average score of 63 out of 100, based on reviews from 40 critics, indicating "generally favourable reviews". Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.

Alan Morrison of Empire felt it was "the best blockbuster of the summer," acclaiming all the comic performances despite his disappointment with the swashbuckling sequences.

The performance of Johnny Depp as Jack Sparrow was particularly praised by critics and audiences alike. Review site PopMatters applauds Depp's performance by saying "Ingenious and mesmerizing, Johnny Depp embodies the film's essential fantasy, that a pirate's life is exciting and unfettered." James Berardinelli of ReelViews also applauds Depp's performance by saying "Pirates of the Caribbean belongs to Johnny Depp...Take away Depp, and you're left with a derivative and dull motion picture."

Roger Ebert acclaimed the performances of Depp and Rush, and particularly that "It can be said that Depp's performance is original in its every atom. There has never been a pirate, or for that matter a human being, like this in any other movie... his behaviour shows a lifetime of rehearsal." However, he felt the film went on for too long, a criticism shared by Kenneth Turan's negative review, feeling it "spends far too much time on its huge supporting cast of pirates (nowhere near as entertaining as everyone assumes) and on bloated adventure set pieces," despite having also enjoyed Depp's performance. Mark Kermode described the film as "a triumph of turgid theme-park hackery over the art of cinema".

Before its release, many journalists expected Pirates of the Caribbean: The Curse of the Black Pearl to be a flop. The pirate genre had not been successful for years, with Cutthroat Island (1995) being a notable flop. The film was also based on a theme park ride, and Depp, known mostly for starring in cult films at the time, had little track record as a box office leading man.

Pirates of the Caribbean: The Curse of the Black Pearl opened at #1, grossing $46,630,690 in its opening weekend and $70,625,971 since its Wednesday launch. It eventually made its way to $654,264,015 worldwide ($305,413,918 domestically and $348,850,097 overseas), becoming the fourth-highest-grossing film of 2003. Box Office Mojo estimates that the film sold over 50.64 million tickets in the US.

Internationally it dominated for seven consecutive weekends at the box office, tying the record of Men in Black II at the time. Only three movies after that broke the record; its sequel, Dead Man's Chest, (with nine consecutive #1 weekends and ten in total), Avatar (with 11 consecutive #1 weekends) and The Smurfs (with eight consecutive #1 weekends). As of February 2021, it is the 141st-highest-grossing film of all time.

Budget $140 million

Box office $654.3 million

My Review

Well, I wouldn't go quite that far, but there's no doubt whatsoever that when I lost my heart to this film, Johnny Depp's outrageous Cap'n Jack Sparrow had almost everything to do with it. I don't normally review 'current' films, so the very fact that I'm writing this highlights an almost unprecedented event - after endless failures, Hollywood has finally rediscovered the spirit of the classic swashbuckler movie.

With hindsight, I think the one brilliant decision that was made at some point - given a modern production environment - was to *separate the roles* of hero and swashbuckler. You can then have your worthy Costner-type juvenile lead, as required, who has to Come To Terms with his Past (although his eventual fate is a trifle unexpected in conventional terms...) - *but* you can also have your essential and irrepressible swaggering rogue (of course, he totally steals the film from the moment he first appears, but *that's* no hardship!)

The moonlight special effects were overdone, in my opinion - not that they aren't believable, but that they would have been more effective if used more sparingly, for occasional flashes of nastiness rather than solid minutes of battle. However, that's a minor niggle. The stunts are energetic, highly satisfactory, *not* computerised, and on occasion even carried out by the stars :-)

The other saving grace of the production is its humour - not that there aren't a few over-arch knowing references, but on the whole it manages to send itself up without suspending disbelief in the process. Jack Sparrow's first arrival on the scene (with total aplomb aboard a steadily-sinking boat) is a prime example, as indeed are the vast majority of subsequent scenes involving this character...

The basic Romance and Rescue structure is satisfactory enough, with the addition of the requisite Feisty Female for the 21st century (though I felt the character would have been a little more historically plausible if she had been a little less liberated - she clearly possesses a stronger character than her young man, she doesn't have to strive to be his physical equal as well...) However, it is the pirates themselves who really make the film, simply by being a pack of unreconstructed and uninhibited villains (from the Jeffrey Farnol School of Historical Dialect) who are far larger than life and totally unselfconscious about it. To quote the opening words of the 'Guardian' review: "we have been waiting [50 years] for a modern pirate film featuring someone who, in all seriousness, actually says the words, or perhaps the two-syllable single word: 'Ah-harrrrr!'"

Jack Sparrow, as swashbuckler extraordinaire and consummate rogue (of course, totally honest in his own way... ahem) is the main attraction of the entire film. Not so much loopy as totally round the bend - outrageous and unpredictable (there is a running gag throughout the first part of the film where he is repeatedly described as "the worst pirate I've ever seen", as in "the worst at it", only for the preposterous tactics in question to prove spectacularly successful).

This character saves the hero in more ways than one - without him, the film would be another "Mask of Zorro", a rather stodgy attempt to update an old favourite for modern-day sensibilities and compensate with more and flashier sword-fighting (swashbuckling is not *about* fighting! It comes into it, yes, but it's not the point.) But together, the pair work off one another beautifully - reliability and inspired lunacy, self-doubt and cocky flamboyance, dogged devotion and shameless self-interest. The only question is which, precisely, is the sidekick...

There are two beginnings to this film, neither of them bearing any relation to the wooden costume-drama-by-numbers prologue that actually opens the movie. The moment when events start to move (it could scarcely be less subtle) is signalled by the swell of the theme music for the first time at Sparrow's initial appearance. But for me the moment when the film really took off was in that instant during his first escape, when he seizes the rope and swings up, up, and out, in a classic swashbuckler move from the past that brought it all flooding back... and my heart flew up after him into my throat, and remained enjoyably in that position until the end of the movie, when the audience began spontaneously to applaud.

The film is far from perfect - characters like Captain Norrington (*please* - 'Commodore', like 'Prime Minister', is a job description, not a form of address!) and the Governor are little more than pantomime stereotypes, with only frustrating hints of humanity to indicate that they do after all have potential denied them by the script. Annoying anachronisms slip in - "it's okay", "I was rooting for you" - most of the nautical jargon comes out with about as much sign of comprehension as a phonetic rendition of a foreign language, and Sparrow's one precious charge of powder gets soaked through often enough in the course of the plot to be utterly useless by the end. Both hero and heroine come across as wooden and thankless roles. Orlando Bloom may be costumed to look increasingly like Errol Flynn during the course of the film (was it my imagination, or does he spend it gradually cultivating a duplicate of that famous moustache?), but, alas, any resemblance ends there.

But then it doesn't really matter. It is Depp, not Bloom, who has inherited the mantle of Flynn and Fairbanks in this film. Jack Sparrow was the character who caught my imagination - and, since I'm extremely impressionable, also had a distinctly peculiar effect on the way I stood and walked for several hours later. And there's not many films can say *that*..! 10/10!!!!