By Ira
Smolensky
Yo,
ho, ho and a bottle of rum
Everybody
loves a good pirate movie.
Well,
maybe not everyone, but enough of us for Pirates of the Caribbean: Dead
ManÕs Chest to gross 130 million
smackeroos when it opened up all across the nation two weekends ago.
About
fifteen dollars of that lofty amount was contributed by the SmolenskyÕs. My wife Marge and I plunked down the cash
at the Kerasotes Showplace 8 in Galesburg and sat with about 300 other
enthusiasts waiting for the much anticipated sequel to get underway. The smell of salt water (with just a
feint hint of rum?) hung in the air.
Like a pirate crew lusting after gold, the crowd was abuzz. But mutiny was also in the air. Expectations ran high. This night just might end with an
unlucky landlubber strung up to the yardarm, or walking the plank.
Thus
was not the case. The movie
provided plenty of thrills, spills, and laughs, and the crowd went home
happy. (Alas, those who failed to
wait for the virtually endless credits to finish missed out on the most
important plot development of the movie, particularly as would concern
animal-rights advocates.)
The
question is—why do pirates work so well at the box office?
For
some, the answer is simple and comes down to a pair of words: Johnny Depp. Admittedly, IÕm thinking mostly of
women here, any number of which seemed to swoon at the mere mention of the
actorÕs name. (Of course, Marge is
an exception. ÒJohnny who?Ó she
asked a female friend, exhibiting supreme disinterest. She did, however, admit later that she
knew who Johnny Depp is, adding that she thought he had a nice personality).
Like
most simple answers, the Depp explanation doesnÕt quite explain the facts. Pirate movies entranced audiences long
before Johnny Depp was born. Some
of these movies had heartthrob heroes such as Errol Flynn and Burt
Lancaster. Indeed, the original Pirates
of the Caribbean pays open homage to
LancasterÕs Crimson Pirate, which
is a favorite of mine as well. But
not all movie pirates were of the swashbuckling variety.
Indeed,
Robert Louis StevensonÕs novel Treasure Island has been filmed several times, with its Long John
Silver probably still surviving as the best known film pirate of all time. Long John was a good-hearted cutthroat
who befriended young Jim Hawkins.
Up in years, missing a leg, Long John was no swashbuckler. And he is even less of an angel,
drinking, killing, pillaging, and betraying with the worst of his colleagues. Nevertheless, when, at the end of Treasure
Island, Long John is facing the
gallows for his many crimes, there are few readers (and/or viewers) who want to
see justice done.
My
favorite portrayer of Long Silver was Robert Newton (1905-1956), who played the
role in the 1950 version put out by Disney. Newton was British and he was a ÒhamÓ if ever there was
one. But he could never ham it up
too much for me. I never have
tired of watching him or imitating him (thus my comment to Marge as we were
leaving the theatre last weekend—Òarrrrgh, harrr,harrrÓ. . .).
In
the case of Long John Silver, the cutthroat is rendered morally ambiguous by
his relationship to Jim. True, he
has led a lawless life, but there is more to life—and morality-- than the
law.
Robert
Newton also played the lead role in Blackbeard the Pirate (1952).
Blackbeard (aka Edward Teach) is thought to be a real life figure. In the film, he is portrayed (some
think inaccurately) as a ruthless figure with no morally redeeming
characteristics. There is no Jim
Hawkins for him to befriend, and no sentimentality to the character
whatsoever. And yet Blackbeard
comes across as an awesome and appealing figure. Why?
Because
he is a pirate.
Pirates,
in real life and in film, have ranged from absolutely horrific to mildly
redeemable. By definition, they
are Òoutlaws,Ó that is, rebels against nation states and other recognized
authorities. Which gets us to the
nub of the matter. For all their
idolatrous pomp and ceremony, the governments that hunt down and hang pirates
also range from absolutely horrific to mildly redeemable. Thus pirates are sinful adventurers in
a sinful world. If nothing else,
they help us to see the worldÕs moral complexity, even if they do not tell us
what should be done about it.
Pirates
of the Caribbean: Dead ManÕs Chest
continues this tradition. Though
its orientation is toward pure (perhaps even mindless) entertainment, the
pirate genre itself is based on a morally complex view of the world. To be sure, Captain Jack Sparrow is no
angel. In fact, when you come down
to it, heÕs a pretty rotten guy.
But he never ran a concentration camp, robbed a people of their natural
resources, or oppressed a race.
Which is quite OK in my book.