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Julius Kondratyev
Julius Kondratyev

Pirates Of The Caribbean: Dead Man's Chest Image UPD


"You have a debt to pay," says an ominous voice in PIRATES OF THE CARIBBEAN: DEAD MAN'S CHEST. "You owe Davy Jones your soul. That was the agreement. Time's up!" And so begins the second installment of the franchise that's turning pirates into rock stars of the new millennium. Yes, the loopy Captain Jack Sparrow (Johnny Depp) is caught in yet another tangled web of ghostly creatures lurking deep in the ocean. It seems that he owes a blood debt to the legendary Davy Jones (Bill Nighy), ruler of the ocean and captain of the Flying Dutchman. And, oh, yeah, his beard is made up of creepy tentacles! To find the chest, "you must sail to da ends of da eart' and beyond," proclaims Tia Dalma (Naomie Harris), a mysterious voodoo priestess. In short, unless Jack can figure a way out of this predicament, he'll be doomed to an afterlife of damnation and slavery. Being a pirate and an opportunist, Jack doesn't shy away from enlisting the help of his old friends, Will Turner (Orlando Bloom) and his fiancé, Elizabeth Swan (Keira Knightly), who've been thrown into prison by the evil Lord Beckett (Tom Hollander), a representative of the East India Trading Company. Beckett has his own plan to keep Davy Jones and his ghoulish pirates from attacking his company's ships.




Pirates of the Caribbean: Dead Man's Chest image


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  • The best endings are the ones that have impact and are essential to their films' visions. The following are ten endings that leave their movies reverberating with meaning: My favorite ending is Chinatown (1974), directed by Roman Polanski. After Evelyn (Faye Dunaway) is killed in Chinatown, Jake Gittes (Jack Nicholson) is led away into the darkness as an assistant says, "Forget it, Jake. It's Chinatown." Then comes the haunting theme music by Jerry Goldsmith, who replaced the original composer. The angst and the music are soulful and sadly potent.

  • Bonnie and Clyde (1967), directed by Arthur Penn, is the most effective ending I've seen in a theater. After the shocking, spasmodic death of Bonnie (Faye Dunaway again) and Clyde (Warren Beatty) -- incredibly edited by Dede Allen -- not a word is spoken on the screen. No one in the audience leaving the theater spoke either. It was shared emotion -- a stunning movie experience.

  • Vertigo (1958), directed by Alfred Hitchcock, is another film with an ending steeped in irony. It may be his finest film; it was his best ending. Hitch knew how to end his films. After Madeleine/Judy (Kim Novak) -- who became an overpowering obsession for Scottie Ferguson (James Stewart) -- plunges off a tower, Scottie stands in frozen horror, forever lost. Bernard Herrmann's music brilliantly punctuates his alienation.

  • The Searchers (1956), directed by John Ford, has John Wayne's signature performance as Ethan Edwards. At the end he strikes a pose that pays homage to western actor Harry Carey. "I was playing that scene for Ollie Carey," Wayne told me. Ollie Carey has a part in the film, and Harry her husband had recently died. In the final sequence, as the door to the house closes leaving Ethan alone outside, Wayne struck the familar pose. "She and I talked about Harry in that stance on other occasions," said the Duke, "and I saw her looking at me, and I just did it. Goddamn, tears just came to her eyes." It is a classic.

  • Shane (1953), directed by George Stevens. As a lad my favorite actor was Alan Ladd. I didn't realize until much later that as he rides away, slumped in the saddle, Shane is mortally wounded. "Come back, Shane!"

  • Dr. Strangelove (1964), directed by Stanley Kubrick. Talk about irony! The last image is a beautiful mushroom cloud from a nuclear bomb as Vera Lynn sweetly croons, "We'll Meet Again." It's gorgeous nihilism.

  • The Godfather II (1974), directed by Francis Ford Coppola. In a withering image, Michael Corleone (Al Pacino) in winter sits alone on a bench amidst stark trees. It's a cold, sterile vision of his soul.

  • La Dolce Vita (1960), directed by Federico Fellini. Marcello (Marcello Mastroianni) sees a young girl in the distance -- a lovely vision of youth and innocence. But he merely shrugs. He can't reach her from his jaded, corrupt state..

  • Dirty Harry (1971), directed by Don Siegel. After killing Scorpio, Harry (Clint Eastwood) throws away his badge as modern traffic moves far in the distance. His doppleganger and the Old West are dead.

  • It's a Wonderful Life (1946), directed by Frank Capra. Let's conclude with an upbeat ending amidst all the irony and alienation. All is well as we see George Bailey (James Stewart) holding his daughter as they hear a tinkling bell signifying that angel Clarence got his wings.Way to go, Clarence!

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