its unclear...well not really..the compass clearly pointed to Jack and Ted even said it did..IMO its a clear message but they are trying to confuse at te same time..it will all make sense if its a Jack/Liz ending but a Will/Liz ending will make most of it seem pointless to add into a movie...if it was to end Will lis then why not show the compass pointing to the chest when Liz looked at it?
No one with a successful movie franchise in mind messes with a familiar backbone of story telling and Jack has basically done it and gained the reward..its not so confusing when you actually place whats happening over the backbone. PotC is just like ANY other movie on the planet when it comes to story telling..Its no different:
Also IMO jack's black moment was when he left Liz and everyone on the pearl not when the kraken ate him because I knew he was going to come back no doubt but IMO when he left the pearl and everyone to die..I officially thought Jack was dead to me..then we get that rebirth where he comes back and totally transforms into the hero with the godlike shot and all I was like: "HOLY ISH! Jack is back and he's gonna kick some royal ass!" that was THE MOST AMAZING and happiest moment to me in the movie after feeling depressed that Jack decided to be a coward..and basically died as a character only to be reborn as the friggin hero 😄:
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8) THE HERO ENDURES THE SUPREME ORDEAL.
This is the moment at which the hero touches bottom. He faces the
possibility of death, brought to the brink in a fight with a
mythical beast. For us, the audience standing outside the cave
waiting for the victor to emerge, it's a black moment. In STAR
WARS, it's the harrowing moment in the bowels of the Death Star,
where Luke, Leia and company are trapped in the giant trash-masher.
Luke is pulled under by the tentacled monster that lives in the
sewage, and is held down so long the audience begins to wonder if
he's dead. E.T. momentarily appears to die on the operating table.
This is a critical moment in any story, an ordeal in which the hero
appears to die and is born again. It's a major source of the magic
of the hero myth. What happens is that the audience has been led to
identify with the hero. We are encouraged to experience the
brink-of- -death feeling with the hero. We are temporarily
depressed, and then we are revived by the hero's return from death.
This is the magic of any well-designed amusement park thrill ride.
Space Mountain or The Great White Knuckler make the passengers feel
like they're going to die, and there's a great thrill that comes
from surviving a moment like that. This is also the trick of rites
of passage and rites of initiation into fraternities and secret
societies. The initiate is forced to taste death and experience
resurrection. You're never more alive than when you think you're
going to die.
9) THE HERO SIEZES THE SWORD.
Having survived death, beaten the dragon, slain the Minotaur, the
hero now takes possession of the treasure he's come seeking.
Sometimes it's a special weapon like a magic sword, or it may be a
token like the Grail or some elixer which can heal the wounded land.
Sometimes the "sword" is knowledge and experience that leads to
greater understanding and a reconciliation with hostile forces.
The hero may settle a conflict with his father or with his shadowy
nemesis. In RETURN OF THE JEDI, Luke is reconciled with both, as he
discovers that the dying Darth Vader is his father, and not such a
bad guy after all.
The hero may also be reconciled with a woman. Often she is the
treasure he's come to win or rescue, and there is often a love scene
or sacred marriage at this point. Women in these stories (or men if
the hero is female) tend to be SHAPE-SHIFTERS. They appear to
change in form or age, reflecting the confusing and constantly
changing aspects of the opposite sex as seen from the hero's point
of view. The hero's supreme ordeal may grant him a better
understanding of women, leading to a reconciliation with the
opposite sex.
10) THE ROAD BACK.
The hero's not out of the woods yet. Some of the best chase scenes
come at this point, as the hero is pursued by the vengeful forces
from whom he has stolen the elixir or the treasure. This is the
chase as Luke and friends escape from the Death Star, with Princess
Leia and the plans that will bring down Darth Vader.
If the hero has not yet managed to reconcile with his father or the
gods, they may come raging after him at this point. This is the
moonlight bicycle flight of Elliott and E.T. as they escape from
"Keys" (Peter Coyote), a force representing governmental authority.
By the end of the movie, Keys and Elliott have been reconciled, and
it even looks like Keys will end up as Elliott's father. (The script
not the final cut, guys).
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