The completely unexpected success of the first Pirates of the Caribbean movie with audiences and critics made it inevitable that Captain Jack Sparrow and his hangers-on would sail again; $600 million in worldwide box-office gold and five nominations’ worth of Oscar gold was just too much plunder for the producers to ignore. So virtually the entire cast and crew, from star Depp to director Verbinski to overproducer Bruckheimer, was shanghaied back for not one but two sequels to be filmed back-to-back and released a year apart. This sort of filming had undergone a resurgence in the 2000s following the success of The Lord of the Rings, with The Matrix sequels taking the same route. Therefore, production began without a finished script, leaving the film feeling soggy and underwritten in many places, despite some memorable moments, and it concluded with a particularly poorly-done cliffhanger.
Despite its hasty genesis, the soundtrack to Curse of the Black Pearl had sold well for Walt Disney Records, and had helped cement Hans Zimmer and his scurvy Remote Control crew as the kings of summer blockbusters. No one was surprised when they reboarded the franchise for the second movie, Dead Man’s Chest, though some eyebrows were raised that despite the presence of “his” themes, Klaus Badelt wasn’t credited at all. With no contractual obligations and plenty of time to pen the score, Zimmer struck the false colors and took primary credit for the music, although as always the collaboration-minded German was assisted by his Remote Control hearties. Lorne Balfe, who would become Zimmer’s primary collaborator for the latter 2000s and 2010s, joined old Remote Control sea dogs Nick Glennie-Smith and Geoff Zanelli from the first film along with up-and-coming midshipmen Henry Jackman, Trevor Morris, Tom Gire, and John Sponsler.
The most memorable themes from the original Pirates sail into port along with them, with the dual silly/serious themes for Jack Sparrow reappearing right out of the gate in, appropriately, “Jack Sparrow.” The flighty and jaunty cello is punched up a notch for a much more satisfyingly piratey sound this time around, though it’s periodically shot across the bow by the usual massive orchestra with synth doubles that Zimmer adds to his provisions for every voyage. The Cthulloid villain of the film, Davy Jones, is given an affecting music box theme that builds to a satistfying, massive organ-led crescendo in “Davy Jones,” while the “He’s a Pirate” theme crops up in the rousing, if often eardrum-shattering, “Wheel of Fortune.” It’s all very rousingly piratey stuff, though “Two Hornpipes (Tortuga)” is the true delightful pirate leader of the album.
But for all that resurgent nautical lit to Cap’n Zimmer’s tunes, the music still has some sargassum-fouled doldrums. Chief among these is “The Kraken” which, despite some token nautical “heave, ho!” chants in the far background, is a crushingly powered-up power anthem scraped from the bilge of earlier and better-realized power anthems. In addition to his usual unison playing and synth doubling, Zimmer feeds the entire orchestra through an electric guitar amp, an idea that sounds swashbuckling in theory but in practice just seems to add an anemic faux electric guitar to the titular giant gastropod and its attacks. Add to that some painfully anonymous music in other places–“I’ve Got My Eye on You,” “A Family Affair,” “You Look Good Jack”–and you’ve got some of Cap’n Zimmer’s lowest soundings next to some of his highest shoals.
It goes without saying, too, that the 50-minute patchwork of the album leaves yards of mainsail left in the hold, with plenty of rearrangement into lengthy suites that often only vaguely resemble the musical block and tackle heard in the movie–to say nothing with ending on a truly dire remix of “He’s a Pirate.” It’s an improvement over the first Pirates, with a more genuine nautical spirit and better themes alongside better interpretations of old themes. But there are still a lot of places where Cap’n Zimmer and his scurvy crew couldn’t resist recycling or swabbing the decks with banal music. It wouldn’t be until their third voyage that the crew got their topsail and mainmast sorted out.