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Another commenter mentioned the un-likelihood of a whaler captain taking his bride on a projected three-year voyage.

In fact, sailors, a generally superstitious lot, often found women on a ship to be a jinx.

Then, too, today the very act of whaling is so P non-C that a lot of people will object to that aspect, rather than concentrating on the fact the story is set at a time no one saw a particular problem with killing the sea-going mammals for their oil.

Robert Taylor gives one of his best performances; Stewart Granger comes across very well.

Ann Blyth has some good scenes, and some bad ones, but she does them all well.

One really attractive aspect of "All the Brothers" is a superb supporting cast. Peter Whitney, for example, has one of his best roles in a very long career. He too often plays a dumb or bumbling character, but here he is a strong person in a pivotal position.

Leo Gordon has a smaller role, but he stands out, as does John Lupton, in a larger part.

Frank DeKova (whom I met on the set of "Johnny Firecloud") was a superb character actor but who was too often relegated to small roles. He could have been a bigger star, with his talent, but he was recognized by his peers, anyway.

The great Glenn Strange and the great John Doucette were aboard, adding their enormous talents and, as so often true in Hollywood, not getting screen credit.

Come to think of it, this movie is worth watching just for the great cast. But be prepared to suspend your disbelief, and don't look at the blue eyes of the "native girl."

This swashbuckling yarn pits Robert Taylor and Stewart Granger against each other as brothers who have very different ideas about how to captain a ship. There's mutiny, island lasses, palm trees, and lots of that flat, too-bright lighting common to Technicolor films from the 1950s. George Folsey received his billionth Oscar nomination for the film's color cinematography, but I'm guessing it was more for capturing some pretty ocean scenery than it was any artistic decisions.

Ann Blyth gives a sub-par performance as Taylor's wife who comes along for the sea voyage. She's a boring character and her presence teeters the film too often into romantic melodrama, when what we really want is more macho battle of wills.

Grade: B-

I have seen this movie several times and discover something new every time. One of the best things about this movie is the flashback sequence with Granger fighting pirates Whitmore and Kasznar for a bag of pearls. The rest of the movie explains how he tries to get his brother [Taylor] to them back from the lagoon where they were lost. You will need to see this movie at least two times before you understand all of the hidden plot twists.

Based upon the novel by Ben Ames Williams who died the year it was released this is produced by crowd pleaser Pandro S. Berman and directed by Richard 'one-take' Thorpe. MGM stalwart Robert Taylor is lumbered with the part of the good brother whilst Stewart Granger has by far the most interesting role as his villainous sibling. Ann Blyth, replacing Elizabeth Taylor, is the meat in the sandwich. This proved to the last film alas of veteran Lewis Stone. Ravishing Betta St. John plays her customary 'exotic' role. Keenan Wynn and James Whitmore were to enjoy long careers and teamed up that year to steal the show as Lippy and Slug with their priceless rendition of 'Brush up your Shakespeare'. George Folsey was again Oscar-nominated for his superlative cinematography but again missed out and the score by Miklos Rosza is suitably stirring. The whale hunt is well done although obviously filmed in a studio tank and the final fisticuff-fest well choreographed. Despite its cast and production values it is alas rather plodding and fails to excite. Granger's description of it as a 'crappy melodrama' seems unduly harsh but he was notoriously dismissive of most of his films. This prickly actor parted company with MGM four years later while the more 'accommodating' Robert Taylor continued his thirty-year long association.

This film is an adaptation of a novel. I have not read it, but it seems like a story of big action and big themes. It can be difficult to put such a story on film, but the filmmakers did a decent job of it.

It all begins when whaling captain Joel Shore returns home to New Bedford, after a lengthy expedition. He finds that Priscilla Holt (Ann Blyth) has grown into young womanhood, and he asks her to marry him before he takes to the sea again. She agrees, despite the fact that Joel might be gone for two or three years. He surprises her by refitting the captain's quarters of the Nathan Ross so that she can go with him. And they set to sea, where she learns about whaling and the dangers of sea life. Everything changes when they discover that Joel's older brother, Mark (Stewart Granger), who used to captain the Nathan Ross, is alive.

Much of the film consists of flashbacks of Mark's story. And then it picks up with Joel, Mark, and Priscilla back on the water, where complicated passions and differing purposes are dealt with. The ninety-five minutes of running time are filled to the brim with conflict and adventure, including a fight scene that is very worthy of the genre.

The acting, across the board, is good. Granger has the meatiest part, and he takes advantage of it. Watch for Lewis Stone in his last film appearance. And Keenan Wynn and James Whitmore, who tackle musical comedy in "Kiss Me Kate", soon after their appearance here.

It's 1857. Joel Shore (Robert Taylor) returns to New Bedford, Massachusetts after three years at sea. He hears that his brother Mark (Stewart Granger) had gone missing on a whaling ship. There are rumors surrounding the incident and Joel has questions. Joel marries Priscilla Holt (Ann Blyth) and they board the Nathan Ross.

This got an Academy Award nomination for Best Color Cinematography although I don't really like the way the film looks. It may be technically good, but the story requires grime and salty crust. Everything and everyone looks way too crisp. After the initial introduction, there is the flashback section which is a thriller adventure. I like it and almost wouldn't mind that as the movie. The other main section is the paranoia of potential mutiny and that has too much melodramatic acting. Joel would have tried harder to convince Priscilla. For each element that I like, there is some sort of drawback.

Taylor is captain of a whaling ship in the south Pacific. His wife, Anne Blythe, is also aboard to keep Taylor from getting too nervous. The crew are a mixed lot. Somewhere along the way Taylor's ship picks up Taylor's brother, Stewart Granger, who left home long ago to pursue various unsavory adventures, leaving behind a history of family friction.

Granger relates a tale of falling in with a couple of douche bags, Kurt Kaszner and James Whitmore, who show him a stash of pearls in the lagoon of an island inhabited by hostile natives. Before they can make off with the millions of dollars of rare pearls, the two miscreants are killed and Granger barely escapes alive.

Back aboard Taylor's ship, Granger invites him to forget about any past frictions and join him in getting the pearls. Forget the whaling business. It sounds pretty good to Anne Blythe, who has always had a bit of a crush on the roguish Granger, but Taylor's face is grim as he declares that he, the captain, will carry out the ship's mission, which is to kill whales.

Stewart seduces Blythe and incites a mutiny. That's the kind of guy he is. There is a knockabout fist fight, and Granger changes sides to fight side by side with his brother and -- well, medical discretion forbids the revelation of additional plot details, but, this being a 1950s movie, you can guess the ending.

Interesting to see Stewart Granger in the role of irresponsible and light-hearted adventurer, kind of an Errol Flynn role. Robert Taylor's acting makes a quantum leap in this film -- he manages to suggest two emotions at the same time. As an actress, Anne Blythe had a pretty voice.

The score is by Miklos Rozsa. You can tell from the moment that first signature six-note phrase appears. We're told Rozsa was a musical prodigy. There's no reason to doubt it, but he recycled the same tone and even the same melodies from one movie to the next. Dmitri Tiomkin was also distinctive, but you can tell one score from another. "The Guns of Navarron" doesn't sound like "Red River." But here, if you close your eyelids, you find you're watching "Ben Hur" unroll on their interiors.

I hate to sound too sarcastic about this but it really is a dated by-product of the old Hollywood. It seems to have been ground out like a Sonic Burger. Everyone wears clean clothes. The men are closely shaved except those who look like supporting players and extras who have been instructed to grow beards so they look villainous. The tans are not from the weather but from Max Factor. After a monstrous gut-busting fist fight, nobody has a mark on him -- and this was after "Shane". The scenes aboard ship are studio bound. There's not a puff of wind.

Strictly routine.

Really did like the idea of the story and who doesn't like a good old adventure yarn once in a while? The cast is an agreeable one, although Robert Taylor was a bit hit and miss for me as an actor depending on the role on paper this sounded like a role that would suit him well. Stewart Granger and Ann Blyth were always watchable, as was Lewis Stone (here sadly in his last film). Richard Thorpe to me was a competent director but at times an undistinguished one.

'All the Brothers Were Valiant' was somewhat disappointing unfortunately, and am taking no pleasure in saying this being somebody that really wanted to like it very much. It is definitely worth a one-time watch and has a lot of fine things. 'All the Brothers Were Valiant' also, considering such a stirring title and that the idea was great, could have been a lot better, with the drawbacks being a fair few and sadly quite big.

Will start with the good things. 'All the Brothers Were Valiant' is a great looking film with the expense showing. Would actually go as far to say that the Technicolor photography in particular is stunning, very lavish and sweeping. Nearly forgot to mention Miklos Rosza as being another interest point, a great film composer with an immediately recognisable compositional style. Which one can definitely hear here in 'All the Brothers Were Valiant', it's arresting from the very first note and is typically lush with some nice grandeur and atmosphere.

It as a film starts off very well and the action oriented scenes are colourfully staged. The bag of pearls flashback is agreed the story highlight. Most of the cast do really well. Taylor's role suits him really well and plays to his strengths, he's on good form here. As is Granger, a nice rivalry contrast to Taylor. The supporting cast are very good, especially Peter Whitney.

However, Blyth fares a lot less well. She has next to nothing to work with, or anything that stands out, and she looks as if she knew that in a performance that doesn't show that much effort. The romantic chemistry came over as bland and watery. Stone does decently and is typically reserved in his cameo but he deserved a better final film and a bigger role. The script is pedestrian and overwrought.

Likewise with the romantic element of the story, which generally after a promising start gets very silly to suspending disbelief level and predictable. Do agree that the ending does undo the film quite badly, it's ridiculous and not remotely plausible. It was like the writers didn't know how to end the story so came up with what was forced upon them. Thorpe's direction gets the job done but too often, especially dramatically, it's undistinguished and like his heart wasn't completely in it.

Bottom line, watchable but doesn't have enough to it to rise above average. If only the rest of the film lived up to its promising start and good potential. 5/10

I had waited for many years to see this film, and when it turned up on TCM my wife and I jumped at the opportunity. It's hard to believe that MGM could have turned out such a poor production.

The basic story is interesting, the shots of ships at sea are grand, (albeit too few) George Folsey's nominated Cinematography pleases the eye ~ but it's all let down by a pedestrian screenplay, (Harry Brown was not up to the task) limp direction by Richard Thorpe, and 'by the numbers' acting. Everyone looked as if they knew they were making a dud.

Taylor had turned in many fine performances, both before and after 'All the Brothers': "The Mortal Storm" - a true 1940's Gem (the film that caused Goebbels to ban screenings of MGM pictures in German territories!) "Devil's Doorway" '50 (while perhaps miscast as an Indian, was still very effective) then after: "Saddle the Wind" etc.

As for 'Brothers', he looks as if he were only doing it to honor a contract. It seemed much the same with Granger, who had moments looking like he wished it was all over...not one of his better performances (ie: "Bhowani Junction")

Ann Blyth was worthy of better material, she had very few good moments and even less good lines, and while Betta St John was very appealing playing a native girl, shes wasted as an actress.

"All the Brothers..." quite clearly shows major film making in decline. MGM only a few years on would be heading for receivership.... Strong, story driven scripts, were giving way to more graphic violence and superficial details. My wife gave up half way through. This is one time Leonard Maltin got his review right.

Following the war years, it seemed much of the creative passion had subsided, and fewer people cared all that much. This all pointed toward Television, bringing with it more low brow artificial trends, leading to todays 'comercially stylized' film making.

The terrible print screened by TCM Australia did not help. The vivid Technicolor had been cheaply transfered and reduced to a dull, lifeless shadow of the original. The image focus was soft and fuzzy, the audio was equally poor.

Congratulations though, are due to TCM in the USA, by showing some respect for it's viewing audience. Their watermark (station ID) is supered over the image for 30seconds only every hour or so. This offers the paying customer better appreciation of good composition, with far less overall distraction.

They also seem to have little, or no 'Automatic Volume Leveling' devices on their sound tracks, so there's less unwanted hiss during the quieter moments. When will TCM Australia get it right and offer its paying customers the quality they deserve? Little wonder so many folk I've spoken to, tell me they've cancelled their subscription.

I'm still with it, but if it doesn't improve, don't know for how much longer. As for 'The Valiant Bros" if you're un-demanding, it may help pass or waste some time.

A good old fashioned swashbuckler. Taylor's acting comes across as a bit wooden at times, but the scenes with his brother and the Polynesian girl are enticing.....reminiscent of Gauguin in Tahiti. A good way to get lost for a few hours.

I'd say that a much more fitting title for this laughable 1953 high-seas adventure story would have been "All the Brothers Were Boring!"

Set in the year 1857 - (I ask you) - What kind of a ship's captain (in his right mind) would actually bring his hot, little wife on board a vessel during an extended whaling excursion where all of the crew members were (obviously) the horniest bunch of sailors imaginable?

In this Technicolor tale - It was bad enough that the 2 rivaling brothers were both far from being interesting characters - But the blasted screenwriters had to go ahead and work the utter nonsense of a "love triangle" into the story, as well.... (Ho-hum!)

This inanity (IMO) reduced this entire picture to the level of being almost unbearable to enjoy.

MGM lays another egg and spends fistfuls of money on this dud. Almost everything about this film is wrong, so where do you start?

MGM had a stable of stars it could have called on (some in this film) to perform in fresh, new comedies, dramas, or musicals, but it went back to a 1923 property it owned and tried to make a technicolor extravaganza about whaling and mutiny on the sea that makes no sense.

None of the characters have any development and we feel nothing for any of them. There is no real tension in the air. A contented crew would not turn, en masse, on their captain if they were being well treated.

What we genuinely feel is horror when one of the brothers cold-heartedly spears the natives and kills them for no good reason. This was considered to be OK back in 1953. You could kill or maim anyone who was not white -- because they were not people.

Yet our sympathy stays with the natives throughout this movie and we are aghast at how the white people treat them. Times may have changed, but were our fathers and grandfathers so barbaric?

It is part of our heritage, but this movie, in all respects, stinks. The "native girl" who kisses one of the crew could not, in fact, be native, she had to be white, and made up for the part.

In this film, no one is valiant -- especially the writers and producers who concocted this behemoth of a monstrosity and tried to sell it to a unsuspecting public.

By this time, we're very tired of seeing the same MGM clothing, scarves, and other decorations being used again in another film. The so-called glitz is so very noticeable now that you are asking yourself what sound stage did they do this scene on? and what islet of the ocean in California was this filmed?

Valiant rates low in any rating system.

In Richard Brooks' film, Stew Granger was the good guy and Bob Taylor the heavy; here, this is the contrary. I admit that Granger is here a smooth bad guy, a character to whom you may feel some empathy. I particularely appreciate his role, a very ambivalent character. Nearly one third of the film is devoted, thru a falshback, to tell his story. This movie has the particularity to focus on both Taylor and Granger. A good adventure yarn for me, among the best of Thorpe's features.

Brothers on a whaling schooner become romantic rivals. In the South Pacific islands, two brothers, one good and one bad, fight over the same girl and over a bag of pearls. Directed by Richard Thorpe, stars Robert Taylor, Stewart Granger and Ann Blyth. The music score is by Miklós Rózsa. This 1953 film is a remake of the 1923 silent film that starred Lon Chaney, made by Metro Pictures. Thorpe, who by the way was the original director of The Wizard of Oz, enjoyed a long career at MGM. He directed a variety of ¨A¨ productions like Two Girls and a Sailor, White Cargo, Ivanhoe (probably his best), Knights of the around Table to name just a few. He used to be a good craftsman.