The duo hijacks the fastest ship in the British fleet and sets sail for the Isla de Muerta, where the pirates hope to break their curse. Two men pursue the Black Pearl, hoping to rescue this beauteous damsel: Will Turner (Orlando Bloom), a blacksmith and childhood friend secretly in love with her, and haughty Commodore Norrington (Jack Davenport), who fancies himself her fiance.ĭespite his loathing of pirates, Will joins forces with Sparrow. The crew also kidnaps the medallions’ owner, Elizabeth Swann ( Keira Knightley), daughter of the governor (Jonathan Pryce). If the treasure is completely restored along with the payment of a “blood debt,” the curse will lift. This is the last piece of the plundered treasure. The Pearl attacks Port Royal, just after Sparrow arrives, to retrieve a gold medallion. Only moonlight reveals them as living skeletons.

What Sparrow doesn’t learn until later is that the Pearls’ treasure carries a curse that dooms his former crew to sail the seas as the undead. Sparrow mysteriously survives and, as the movie opens, sails into Port Royal harbor in little more than a dinghy. The curse of the title occurs when black-hearted Captain Barbossa (Geoffrey Rush) relieves fellow pirate Captain Jack Sparrow (Johnny Depp) not only of his command but his ship, the Black Pearl, and its treasure, leaving him to die on a tiny isle. The film includes a number of “scenes” from the Disneyland ride, such as the imprisoned pirates trying to coax a dog carrying a jailhouse key toward their cell to a raucous tavern featuring zaftig serving wenches.īut the smartest borrowing - and one of the best of the 600-old visual effects shots - is the living skeletons.

This $100 million-plus production, stylishly directed by Gore Verbinski and lavishly produced by Jerry Bruckheimer, has the makings of one of the summer’s big hits. Screenwriters Ted Elliott and Terry Rossio are mostly associated with animation, and this is one time when a cartoon approach in live action is exactly right: The movie’s flamboyant personalities and tongue-in-cheek action push the envelope of high camp without ever succumbing to sheer silliness.

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