Dead men tell no tales...but a Gentleman Pirate can step in.
Stede Bonnet (Rhys Darby), coming from a life of privilege, stands before Blackbeard (Taika Waititi), jealous of the aristocratic lifestyle. The scene comes in Episode 5 of Our Flag Means Death. Under the moonlight, the two grow close, emotionally and physically. Stede helps the pirate place a piece of treasured silk into his shirt as a pocket square. It’s a tender moment, which the word “pirate” doesn’t usually bring to mind. Our Flag Means Death is a workplace, romantic comedy more than a swashbuckling romp. Stede really wants to be a pirate, yet he’s not made for the grisly violence and debauchery. Much can be said about the typical elements that make for a great pirate tale. What really sets the HBO Max series apart from others is its soundtrack, the music and songs revealing the interior of characters.
Pirate stories are grand myth-making, so why not be theatrical? Muppet Treasure Island gave just that, with original show tunes. In an adaptation of Robert Louis Stevenson’s classic, the movie goes goofy with pizzazz. The songs composed by Barry Mann and Cynthia Weil, include a tropical-themed number and a romantic ballad between Kermit and Miss Piggy. Tim Curry plays Long John Silver so outrageously, he makes sure to not get lost among his muppet actors. Hans Zimmer also created the music, who went on to give his musical touch to another pirate movie. Pirates of the Caribbean is an orchestral epic, with composers Klaus Badelt and Hans Zimmer matching bravado with the fantastical in “He’s a Pirate." The franchise also gave two noteworthy lyrical songs, incorporating “Yo ho! A Pirate’s Life For Me” from the Disney ride and the original “Hoist the Colours” sung at the gallows in At World’s End. On Starz, Black Sails used historically accurate sounds. Composer Bear McCreary went fully into the grittiness of a pirate's life. On his website, he explained there were two important instruments used, the accordion and hurdy gurdy. It doesn’t sound perfect but rough, adding to its intensity. Our Flag Means Death joins these other pirate soundtracks by figuring out how to make its music specific to the story it's telling.
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Composer Mark Mothersbaugh uses a harpsichord and spanish guitar frequently for the show’s score. But known pieces are used. “Messa da Requiem: Dies irae” by Verdi hits its operatic opening, as Blackbeard’s ship follows behind Stede’s early on. “Il Triello” by Ennio Morricone, well known for his music to Spaghetti Westerns, is heard in episode 8. The slower pace to the specific westerns Morricone composed for works well with Our Flag Means Death. Both take place in isolating landscapes, place anti-heroes front and center, and have non-traditional soundtracks. “Il Triello” builds in The Good, the Bad, and the Ugly (1966) as close-ups of the eyes of macho men are seen. Here, the trio consist of a hexing Swede, a drunk wild man, and a scorned seagull named Olivia. The spaghetti western influence seeps into the story too. Jim (Vico Ortiz), onboard Stede’s ship dressed as a man, has a vengeful agenda. In episode 7,“This is Happening,” Jim’s backstory is appropriately tragic and preposterous. Her family was killed by a ruthless gang, leading to her being raised by a nun and made to be a skilled killer. Whether on this show or in the western subgenre, nuns were not always peaceful. Two Mules for Sister Sara (1970) showcases Shirley MacLaine as a swearing, whiskey loving nun with a secret. The music works well enough but by far, the needle drops make Our Flag Means Death into something special.
Music supervisor Maggie Phillips carefully chose the right song. When finishing the show, it becomes apparent that while the songs helped separate it from other pirate movies and shows, it's sparsely used. Talking to Gizmodo, Phillips had to pick the best one due to the limitations. “Every spot you hear in the show I probably went through 100 songs to get to that spot,” she said. “I watch every scene at least 100 times, testing different songs. The moment at the end of the pilot in Our Flag Means Death? I’ve probably watched 50 to 100 times, just to get it perfect.”
The end of the pilot introduces, “High on a Rocky Ledge” by Moondog, a needle drop not many people have heard of. The folk song turns into a kind of lullaby, suitable for Stede who laments on abandoning his family while reading The Adventures of Pinocchio as a bedtime story to his crew. There’s a bittersweet mood the song makes. “Our Prayer” by The Beach Boys hits its soft opening in the third episode as Stede and Blackbeard finally meet, set among the destruction of a ship. It’s calming or it can be ominous. Stede, who’s first kill was by a complete accident, doesn’t even know the man approaching him is, in fact, Blackbeard. To the surprise of everyone around them, the two form a bond. The dreaded captain is merely a persona, the captain becoming “Edward Teach” to Stede as they swap life experiences.
The incompetence of Stede as a captain makes him oblivious to another threat. “Cobra” by Bailey’s Nervous Kats ends episode 7. A trio forms with their own separate agendas, with Ed and Stede on their sights. Izzy (Con O’Neill), Spanish Jackie (Leslie Jones), and Admiral Chauncey Badminton (Rory Kinnear) plot against the Gentleman Pirate. There’s no rush to the music. Steady drums, like the signal of war, are paired with a guitar twang. There are no vocals, no warning to spell out danger. Stede will just have to find out when it’s too late.
Episode 8 wraps up as the English invade, strong with the Morricone inspiration. Creator David Jenkins talked about it to Collider, saying, "'The Chain' has a Spaghetti Western sound to it if you listen to it, and I like mixing those quasi-Western beats with pirates.” It slips from diegetic to nondiegetic, slipping all the way into the latter as the scene continues. The English soldiers hit the drums, approaching the ship, matching the drums of Fleetwood Mac. Frenchie plucks the guitar, also heard in “The Chain.” It compliments the chaos onscreen and the simmering romance. Edward makes a decision, heading back to the ship instead of escaping. Captured with everyone else, Stede and him are thrown down close together. “And if you don't love me now, you will never love me again. I can still hear you saying, you would never break the chain,” sings the band about a relationship made strong despite difficulties, just like the two men staring at the other with so much affection.
Lou Reed’s “Perfect Day” ends up being the most recognizable of the tunes featured. “You’re going to reap just what you sow” the lyrics go as Stede and Blackbeard deny themselves happiness among each other for what they’re supposed to want. “Avalanche” by Leonard Cohen fully awakens the darkness to Edward during the tenth and final episode of the season. “The crumbs of love that you offer me. They’re the crumbs I’ve left behind,” sings Cohen in his raspy, slow voice. From his interview with Collider, Jenkins was excited about the inclusion of Cohen’s song, saying, “--there was something about that song. It's so dramatic, and it's also very dry, and it's scary. It's a scary song when you put it with those images.” Blackbeard resurfaces, full of rage and loneliness. He tosses the sweet Lucius (Nathan Foad) overboard. He suits up in leather and weapons, darkening his eyes and beard. “You who wish to conquer pain. You must learn, learn to serve me well,” the lyrics play when Izzy gets his pinky toe severed by his captain. The pain turns into pride as Izzy gets the return of the violent authority he has wanted all this time. Cat Stevens’ “Miles to Nowhere” culminates the season. Stede travels in the open seas, very much with nowhere in sight, but with a destination on his mind. Blackbeard falls into despair but Stede commits to this new life. He’s not running away from his past anymore, his eyes are set on a destination, to his crew and Edward.
Our Flag Means Death is not historically accurate and it’s not trying to be. The Golden Age of Piracy, without question, will always capture the imagination of the young and old. But there is so much myth-making to it. The show’s historical inaccuracy is besides the point. The emphasis is on the human characters, their emotions, and relationships. The needle drops do its part in focusing on the humanity of this bumbling crew of pirates. Gone is the completely black heart of Blackbeard, where his monstrous persona hides terrible heartache. So Stede better row his oars faster before Blackbeard locks eyes on a doomed vessel. There’s no telling what the next take on the pirate genre will do to change things up some more. In the meantime, hoist the colors and man the cannons until the second season sails on in.
Chris Sasaguay is a Freelance Writer for Collider. At any given moment, his mind wanders from Scream Queens, queer cinema, to maybe 'Bob’s Burgers'. If he isn’t hiking through the woods on his free time, he’s probably making another niche Spotify playlist.
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