User Reviews (43)

Add a Review

  • Can circumstances turn bitter enemies fighting for their countries into true friends? None But the Brave attempts to answer this question with a unique look at the relationship between two companies of enemy soldiers during World War II. This 1965 film is a character study of the two groups  one American, the other Japanese. Marooned together on an island, they are forced into a reluctant cease-fire in order to help each other survive.

    Frank Sinatra plays Chief Pharmacist Maloney, an alcoholic medic. As always, `Ol' Blue Eyes' shines with his great performance, proving how incredibly underrated he is as an actor. His co-stars are Tatsuya Mihashi as Lieutenant Kuroki and Clint Walker as Captain Bourke. The poignant story is told from the perspective of Kuroki, the ranking Japanese soldier. Mihashi performs brilliantly as a man driven to honor his country, but in his heart carries deep hatred for violence and `admires men's works. not their destruction.' Walker's portrayal as Bourke, an American soldier haunted by his past, is outstanding. Kuroki and Bourke's positions are paralleled throughout the film as they struggle to keep their men under control in the middle of nowhere.

    Sinatra was more than one of the film's stars. In a bit of multitasking, he also produced and displayed his directing skills in his only directorial endeavor. It is very apparent that the filmmakers tried extremely hard to display fair portrayals of both sides. For instance, there were three writers, Kikumaru Okuda and Katsuya Susaki, both Japanese, and John Twist, an American.

    It was surprising that John Williams, credited as Johnny Williams, composed the musical score for this film. This was a rare opportunity to see just how much is skills have evolved since 1965, which of course is to be expected. While the music was entertaining, it did not reach the caliber of most of his soundtracks from around 1974 and up.

    This was an excellent motion picture. It gets all points for writing and acting. The directing was quite good. My only criticism is that some of the action scenes could have been more dynamic. Sinatra apparently decided to use a very straightforward approach with the camerawork. This resulted in somewhat stagnant feel to the battle scenes where a slightly different angle would have made all the difference. This may have been on purpose, as this was not a typical shoot 'em up, drag 'em out war film, but had a much more intelligent story.

    7 out of 10
  • On a tiny forgotten island in the Pacific, there a tiny and forgotten Japanese outpost--with men who'd become stuck there with no great hope of rescue. Into this tiny place arrives a crashing airplane filled with US Marines. When they land, hostilities naturally break out between the groups. However, after a while they realize that killing each other will solve nothing and they have to work together to survive--forging an uneasy peace and friendship between enemy combatants.

    NONE BUT THE BRAVE is a film that is a real product of the times. Had anyone wanted to make such a film in the 1940s, they might just have been strung up for the film's very unusual sensibilities. Unlike older war films, in this one the Japanese are humanized a great deal and it's obvious that the film was made during the anti-war 60s (though early in the anti-war years). In many ways, this is a good thing--showing that people on both sides could be decent. Though in some ways the whole thing seemed a bit hard to believe--after all, very, very few Japanese officers would have admitted to not having faith in the war--this was a very 1960s sentiment.

    As for the acting, it was generally good. Clint Walker was clearly the star, though Frank Sinatra had a decent co-starring role in this film that he both produced and directed. The Japanese actors also were pretty good. The only weak point was the way Tommy Sands' character was written--he was like a one-dimensional caricature instead of a real soldier. No young lieutenant is THAT obnoxious and stupid!!

    Overall, an entertaining film but one that strains credibility, as the concept behind the film just doesn't make much sense for the 1940s. Still, if you can stop those voices in your head from complaining about the plot, it's a good and very different movie.
  • Warning: Spoilers
    It's probably a mistake to say that this is Frank Sinatra's only effort at directing. Truth be told, starting with Ocean's 11, he directed about half the films he was in, whoever's name is in the credits was just a puppet. Frank was also producing as well, probably though he didn't want the public to get the idea he was Orson Welles.

    Maybe it would have taken an Orson Welles to have made None But the Brave a classic film, but Sinatra in his only formal effort at directing doesn't do a bad job except for his then son-in-law Tommy Sands. In fact he anticipates Clint Eastwood's Iwo Jima films by 40 years.

    This isn't Iwo Jima exactly, it's a small backwater island in the Pacific where a squad of Japanese soldiers have been cut off and are living off the land so to speak. A Navy transport plane is shot down with a squad of U.S. Marines on board. Pilot Clint Walker crash lands safely on that selfsame island and saves most of them, but they are also cut off.

    After a lot skirmishing mostly between Walker and Sands with Walker trying to prevent newly commissioned second lieutenant Sands from doing something stupid like charging the Japanese headlong, the two groups agree to opt out of World War II. An interesting thing happens, both find that they have a lot in common. We already know that in seeing the film from the Japanese point also with subtitles.

    The Japanese players are unknown to we occidentals for the most part, but I looked and found several like, Tatsuya Mihashi as the Japanese commander, Takeshi Kato as their sergeant, and Homere Suguro as the corporal who has his leg amputated by Frank Sinatra had substantial careers in Japanese cinema. The player on that side I liked most however was Ryucho Shunputei as the simple Japanese private who fishes and quite frankly is the key to their survival. I'm betting he wasn't exactly in the Samurai tradition in combat, but his skill at the profession he left behind is keeping his whole group alive.

    For himself Frank Sinatra took the part of a Navy Corpsman who is the only non-Marine beside Walker on the American side. The part fits him quite well indeed. This was the film where Brad Dexter who's the Marine sergeant in the film saved Frank Sinatra from drowning when old Blue Eyes was swimming and was nearly swept out to sea by the undertow. Bing Crosby's son Phil had a small role as one of the Marines, no doubt a favor from Old Blue Eyes to the Old Groaner.

    Frank Sinatra could be vindictive however and I had never thought about it before, but another reviewer's comments about Tommy Sands made me reconsider his performance. Maybe Frank was actually trying to mess his career up. Sands as the green second lieutenant is almost a caricature of one. He's so bad in the role, maybe it was lousy directing for him only.

    Other than that, Frank did not do a half bad job. It's not a great film, but it's not bad either and it does raise some interesting questions about people in combat situations.
  • In the midst of WWII, a pair of American transport planes (each full of Marines) is shot down. One (piloted by Walker) manages to crash land on a nearby uncharted island which happens to be inhabited by a small contingent of Japanese soldiers. Directed by Sinatra (in his one and only try), the film demonstrates the parallels and differences between these small units of soldiers on opposing sides and with varying backgrounds. Much of the film is devoted to the Japanese point of view as they are led by Mihashi (and most of it is presented in their native tongue with subtitles.) The rest concerns Walker, who takes charge of the remaining men, Sinatra, a boozy medic, Sands, a hopelessly eager upstart and Dexter, a grizzled Sergeant. Hostility between the enemies finally gives way to a sort of truce, or at least a cease-fire, until finally the men must live up to their country's expectations of eliminating each other. There's a lot of good in the film. It was an early example of showing more than one perspective with regards to enemies of America and it demonstrates, at times rather well, the ultimate futility and wastefulness of war. However, Sinatra, as a director, is in a bit over his head and the film is often static or choppy in it's narrative. There are also a ridiculous amount of scenes in which characters stay alive simply because either the enemy stops shooting (for no reason) or else misses by a mile. A lot of this could have been rectified in the staging of the battle sequences. Sinatra's role in the film is actually a supporting one, mostly consisting of one queasy, unbearably nerve-tingling sequence in which he is traded to the Japanese in order to perform surgery on one of their men. Otherwise, he is just onhand to provide the occasional snarky remark. Walker is a tower of virility and quiet strength. NO ONE wore a helmet like him or filled out their fatigues with more monument-like beauty. His enthralling baritone voice and piercing, ice-blue eyes make sitting through this film a little more enjoyable than it could have been without him. Sands is so unintentionally hilarious and so jaw-droppingly bad that his scenes ascend into some crazed, parodic comic stratosphere! WHAT was he thinking? It's like some teenage punk decided to portray a soldier the way he always dreamed of when in his sandbox as a child. His jaw, his posture, his accent.....all combine to create a memorably uproarious caricature. Dexter (the always-forgotten member of "The Magnificent Seven") has a couple of decent moments, notably in a conflict with Walker. Other soldiers are portrayed by healthy-looking, earnest actors who fit their roles well, though most of them don't get a chance to really shine. There are two very brief flashbacks by Mihashi and Walker that present the lady loves of their lives. Walker's is played (with hair and make-up that are about as 1940's as Sharon Tate in "Valley of the Dolls"!) by Stephens in her film debut. Though uneven, the film succeeds in presenting the enemy as human and in promoting the power of goodwill. The fact that Walker, in every frame, is breathtakingly handsome is gravy. (Oddly, he is pictured NOWHERE on the video box even though he is actually the leading man of the film!)
  • When you get right down to it, war is a pointless human endeavor. All it causes is death and destruction. When we use war to achieve a right event (such as the defeat of Nazism in World War II), it was often avoidable had some other peaceful action been taken earlier. Proper, humane treatment of Germany after World War I may have prevented the outbreak of World War II. "None But the Brave" is an earnest attempt to show that the differences between men in war can often be settled peacefully, and working together for mutual survival often assures peace and serenity.

    The plot of the movie is rather straightforward. A plane carrying about a dozen American soldiers crashes on a small Pacific atoll, where the remnants of a Japanese garrison have been all but forgotten by their superiors. About equal in numbers, the two opposing parties attempt to fight it out, but then realize the hopelessness of confrontation, and instead form a peace in order to share fresh water, food, and medical supplies.

    The two leads, Clint Walker ("The Dirty Dozen") and Tatsuya Mihashi ("Tora! Tora! Tora!") both shine in their roles. The two men are parallels: both have a sense of patriotism and devotion to their nation and the men under their command, yet both are humanists who see no point in destruction. During the truce, the two form a true friendship, coming to understand their respective backgrounds and personal life stories with respect and admiration for each other.

    The supporting cast is generally filled with clichéd, familiar characters (a tough sergeant, a grizzled corporal, some inexperienced grunts, etc.), but the story really isn't about them. Tommy Sands ("The Longest Day") plays a green lieutenant out for blood, and his acting is far over the top. There's a story behind this, and it's unfortunate that his delivery strongly distracts from the story. Frank Sinatra has little to do, as he was busy in the director's chair, but there is a great extended scene revolving around a leg amputation where his limited dialog and great facial expressions more than deliver the goods. When Sinatra had substantial screen time, he used it well, but unfortunately he didn't give himself enough to do and his character is basically a waste of energy.

    Director of Photography Harold Lipstein ("Hell is for Heroes") does a fantastic job with the Pacific locations. The steamy tropical jungle truly comes alive, especially during a fabulous scene in which a monsoon sweeps over the island. Sinatra's direction lacks flair, and most of the action sequences are straightforward and bland. The firefight revolving around a Japanese boat is also grim and gritty; and the final confrontation between the Japanese and Americans really delivers, mostly because of the blatant anti-war message which comes about 30 seconds after the shooting stops.

    The movie features a rather boring score by John Williams (who was just starting to break into writing film scores in 1965; most of his work had been in television prior to this film). Eiji Tsuburaya (of "Godzilla") fame supervised the special effects work, and unfortunately, I have always found his work below-par when compared to some of the innovations Hollywood could afford during this period. There's a scene in which two model planes on strings blast away at each other in the same manner toy airplanes fired rockets at monsters as they attacked Tokyo. I can understand the Japanese cast and crew, since this was a joint production, but someone else should have been running the special effects department.

    These are just minor nitpicks. Sinatra does a very good job directing this film and he has taken far too much criticism from other reviewers. The statements made in this film are bold and honest, and there are many moving moments. The final act is a brilliant exercise depicting the waste and futility of war. If everyone could not only watch, but understand the philosophy portrayed in this movie, perhaps the world would be a more peaceful place.
  • HKFAN20 November 1999
    A plane load of US Marines crashlands on a Pacific Island held by Japanese soldiers during WW2. The Marines include a green lieutenant (Sands), a veteran sergeant (Dexter) and a medic (Sinatra). Clint Walker plays the pilot who is more than just a pilot.

    The Japanese have been bypassed by their own and are seeking a way off the island. There are a few skirmishes with the Marines and then a "truce".

    But how long will it hold for?

    Good characters, story and actors make it worth watching.
  • The title is from John Dryden's poem, "Alexander's Feast", stanza 1: "None but the brave/ deserve the fair" . Sinatra's directorial debut , it results to be an efficient effort , a straightforward and gripping movie , being the first Japanese/American co-production . During WWII , an American bomber aircraft is gunned down and crashes on an island (the plane flown that was shot down was R4D, C47 transport) . American and marooned Japanese soldiers (survivors from a Japanese battalion) are stranded on a tiny Pacific island , in the Salomons , during World War II . But in this uninhabited island in the Pacific Ocean there is one Japanese military group and both of them stranded together . There takes place a physical and psychological battle between American/Japanese with anti-war allegory . After a skirmish , the two bunches initiate a fragile truce with the understanding that fighting will resume if one or the other sends for help . The Japanse detachment (who are mercifully allowed to speak Japanese) is commanded Lt. Kuroki (Tatsuya Mihashi) , as the film being told through the eyes of this Japanese unit commander . The American group is commanded by Capt. Dennis Bourke (Clint Walker) who must deal with an atmosphere of growing distrust and tension between their men . They confront each other in a violent mini-war but then come to terms with each other . . There , they must cease their hostility and unite themselves if they want to survive until a disappointing and unexpected ending . The Marines hold heavy weapons : M1 , Grease gun , carbine and 45 cal pistol against the Japanese rifle and hand grenade . Soonafter , the American attempt to capture a boat laboriously built by the Japanese . The American repair their radio unit ; then , things go wrong and they must decide on their next unsettling actions . This movie's closing end coda states: "Nobody Ever Wins" .

    Nice and well executed film set during WWII , containing a brief anti-war declaration . The plot is plain as well as simple and prefigures ¨John Boorman's Hell in Pacific¨ , dealing with a platoon of Marines crash-lands on a tiny Pacific island occupied by a small Japanese unit and must make a temporary truce and cooperate to survive various tribulations . The film has a carefully constructed mood as the two groups warily circle each other and spasmodically clashing in battle , including an anti-war message ingeniously overplayed . However , being stupidly fractured by two inappropriate flashbacks , obviously designed to provide the ordinary love interest . The movie sometimes lapses into tedium and slowness , though contains striking images with moments of great power and adequate scenarios . Here Sinatra gives a very good acting as the sympathetic but drunk doctor . Known as "One-Take Charlie" for his approach to acting that strove for spontaneity and energy, rather than perfection , Sinatra was an instinctive actor who was best at playing parts that mirrored his own personality . The remaining cast is pretty good , such as : the tall Clint Walker who bears the main role , Brad Dexter from Magnificent seven , Tony Bill , Rafer Johnson as Pvt. Johnson , Tommy Sands who co-stars in the movie divorced Nancy Sinatra, Frank Sinatra's daughter , the same year this picture came out and Richard Sinatra , Frank Sinatra's cousin, appears as Private Roth . And special mention for Tatsuya Mihashi as Lt. Kuroki .

    This is the first Japanese-American co-production, produced by Kikumaru Okuda for Toho Studios and by Frank Sinatra for Warner Brothers , being professionally directed by Frank who displays great competence as an action filmmaker with some scenes that are decently choreographed and memorable fight shots of both sides when they destroy their means of getaway . Frank Sinatra's only film as director and his 6th out of nine films as producer , though he also made 2 episodes ,¨The Frank Sinatra Show¨ TV Series . Sinatra's biggest hit was his role as Maggio in From Here to eternity (1953) . He won an Oscar for best supporting actor and followed this with a scintillating performance as a cold-blooded assassin hired to kill the US President in Suddenly (1954). Arguably a career-best performance , garnering him an Academy Award nomination for Best Actor , was his role as a pathetic heroin addict in the powerful drama The man with the Golden arm (1955). He continued to give strong and memorable performances in such films as Guys and dolls (1955) and Some come running (1958). In the late 1950s and 1960s Sinatra became somewhat prolific as a producer, turning out such films as A hole in the head (1959) , Sergeant 3 (1962) and the very successful Robin and 7 Hoods (1964). Lighter roles alongside "Rat Pack" buddies Dean Martin and Sammy Davis Jr. were lucrative, especially the famed Ocean's eleven (1960). On the other hand, he alternated such projects with much more serious offerings, such as The Manchurian Candidate (1962), regarded by many critics as Sinatra's finest picture . That same year Von Ryan (1965) was a box office sensation . In 1967 Sinatra returned to familiar territory in Sidney J. Furie's The naked runner (1967) , once again playing masterfully in his only film to be shot in the U.K. and Germany . That same year he starred as a private investigator in Tony Rome (1967), a role he reprised in the sequel , Lady in cement (1968). He also starred with Lee Remick in The detective (1968), a film daring for its time with its engaging theme and it was a major box-office success.
  • Like its better known cousin HELL IN THE PACIFIC, NONE BUT THE BRAVE is a story about US and Japanese troops stranded on a desert island during WW2. It's a tense and highly watchable tale that makes Frank Sinatra's sole directorial credit, and he also co-stars in the movie as the medic of the group.

    The tale is quite low key and more of a character piece than an action film. There are action scenes here, but they're few and far between and low budget. Nonetheless the film looks classy and expensive with fine cinematography that brings the lush locations to life. As an anti-war piece of filmmaking, it ploughs much the same furrow as HELL IN THE PACIFIC, exploring the way in which all soldiers are the same and the parallels between the two units despite their utmost grievances.

    There are some exemplary performances amid the cast members. Clint Walker is exceptional as the nominal group leader and Tatsuya Mihashi his equal as his Japanese rival. Sinatra himself gives an understated performance but the set-piece involving the amputation is the tensest and best in the whole film, a minor acting masterclass from the star. Only Tommy Sands falls apart with a turn that could best be described as a caricature of a real person.
  • greenheart4 December 2005
    A very different type of war or in this case, anti-war movie. Effective plane crash at the beginning, I wonder if this is where the current TV series 'Lost' got some of its insperation. This is a cleverly written piece, with the similarities between sides and the appreciation of command and position brilliantly observed. I think Frank Sinatra was hugely underrated as a movie star. However, I found him disappointing here. Sure, he can play a drunk with his eyes shut, but the doctor is a complex and excellent potential character role that we never saw explored. Sinatra looked as if his mind was elsewhere and probably as director, it was and his character was totally unbelievable. This is not to distract from an original, well acted and in truth, touching piece that has a very strong message to deliver.
  • HotToastyRag23 September 2017
    How would soldiers behave if they weren't forced to fight? It's a very thought-provoking question, one that's answered in the WWII drama None But the Brave. Frank Sinatra directed the film, and given the strong themes of friendship and loyalty present in the script, it's easy to see why he was drawn to it.

    A Japanese platoon is stranded on a tropical island, and as they try to build a boat to escape from the island and return to the war, an American plane crashes on the island. Both sides are isolated, and while at first they're hostile towards each other, as time passes with no rescue from either country, they agree to a temporary truce. As the friendship grows between the commanders and soldiers, there's a sense of dread and sadness looming overhead. If they are rescued, will they immediately become enemies again? Everything in this movie is shared equally between the Japanese and Americans, from the screenplay written by John Twist and Katsuya Susaki, to the dual languages present in the opening credits, to the similar dynamics between the commanders and their soldiers. While Tatsuya Mihashi has the largest role of the Japanese cast, and Clint Walker is the lead of the American cast, the entire ensemble cast gives very good performances. The slow change from wariness to trust is built steadily through the scenes, and as the men begin to dread a potential rescue, the audience feels it just as strongly.

    While there's very little fighting in this film, it's a very important war movie. If you think character development and internal tension are just as important as battle scenes, you're going to want to watch None But the Brave the next time you're in the mood for a WWII movie.
  • dartleyk12 December 2012
    an old idea done better in many other movies, i.e opposing sides find themselves in the same boat and fight and wonder why; odd part if the several misplaced performances; start with sinatra doing the typical club singer vegas performance except in uniform in the south pacific; follow that with the most bizarre- tommy sands, then a teen idol singer (oh, and sinatra's son in law) who was a little person with a little voice somehow not realizing what a fool he was acting by pretending to be a big tough marine booming out orders; it's just laughable; anyway, the best version of this is lee marvin in hell in the pacific; still a war movie but thoughtful, interestingly shot
  • I saw None But The Brave first run when it came out. It has to stand out in the WWII genre as one of the few that see the Japanese as human and show just a little understanding for their point of view.

    The Japanese author constructed a Japanese unit mirroring an American one: replete with the tough sergeant and a bunch of kids too young to die, adding to it the buddist monk who wound up in the Imperial Japanese Army for praying for peace at the wrong time.

    "I don't suppose," the Japanese LT asks the American Captain (Clint Walker), "you can just forget we're here."

    The enemy no matter how much you hate him/her has a story worth telling. Only a fool in blind self-righteous fury can think otherwise.

    The American cast Clint Walker, Frank Sinatra, Tommy Sands, and Sammy Jackson (later to play the stereotype of the US GI in the TV version of No Time For Sergeants)rendered a bravura performance.

    The anti-war tone is as subtle as it is convincing with realistic scenes of firefights. The Japanese even with the odds against them are tough fighters to the bitter end.

    It's an excellent film well worth revisiting. Comparable films include WE WERE SOLDIERS, THE ENEMY BENEATH, ALL'S QUIET ON THE WESTERN FRONT, BREAKER MORANT and PRISONERS OF THE SUN.
  • RELEASED IN 1965 and directed by Frank Sinatra, "None but the Brave" chronicles events on a small Pacific island during World War II where Japanese and American military personnel must make a temporary ceasefire and cooperate to survive. Clint Walker plays the captain-pilot while Sinatra plays his right-hand man and medic.

    This was Sinatra's first and only official stab at directing a feature film, although he had practice with numerous movies beforehand without credit. It's the first American-Japanese co-production and perhaps the first American production to show the Japanese in a balanced, fairly positive light. It's more of a jungle drama than a conventional war flick, but there is quite a bit of war action, including the downbeat ending. It's mostly serious, but with whimsical, caricaturist elements.

    Walker is great as the main protagonist while Tommy Sands (Sinatra's son-in-law) is notable as the gung-ho Marine Lieutenant. People complain about his over-the-top performance, but it's what Sinatra wanted and I'm pretty sure there were more than one green "butter bars" very similar to him in the USMC during WWII. Laraine Stephens has a glorified cameo.

    THE FILM RUNS 106 minutes and was shot in Kaua'i, Hawaii. WRITERS: John Twist & Katsuya Susaki (script) and Kikumaru Okuda (story).

    GRADE: B-
  • Just caught this one again recently. It's difficult to write an honest, objective review of a movie that's this bad. Hard to believe that anyone remotely connected to the military had anything to do with the script or direction of this turkey. Ever war movie cliché ever uttered turns up here somewhere. Hard to decide if Tommy Sands' performance as the hard-as-nails rookie lieutenant is howlingly funny or just outrageously bad. This is Hollywood's version of war. It's watchable only if you don't mind being clubbed over the head with the "message" every few minutes (that being "why can't we all just get along?") As a lifelong fan of Sinatra, I'm hugely disappointed.
  • Over in the trivia section of the IMDb there is a submission that reads something like..."When he (Tommy Sands)divorced Frank's kid (her name is Nancy), Sinatra allegedly saw to it that his (Sand's) career went permanently on the rocks"...or something like that. Statements like that should be followed by telling exactly just how this was accomplished. This film, "None But the Brave" may contain the answer. It was directed (none too well at that) by Mr. Sinatra, and Mr. Sands, in every scene he is in and every line he speaks, gives the most shrill, bizarre, over-the-top, irritating,mind-boggling, irksome, get-the-hook, somebody-please-shoot-him performance ever seen in a movie that had a budget of over $1200. He was not good enough as an actor to have been that bad on purpose. He was not good enough of an actor to have been that bad accidentally. Only a director on a mission can take a performer to the depths reached by Tommy Sands in this film. Thanks a lot, Dad.
  • I don't think None But the Brave is a classic, but it certainly is not a bad film. Not at all, even if the pacing is uneven, the score a bit of a disappointment(John Williams has done much better work before) and Tommy Sands's character written not as well as it could have been, there is still a lot to like. Asides from Sands, who does his best with his role, if overdoing it sometimes, the other acting is very good, with Clint Walker giving the best performance as he performs with care and sensitivity and the Japanese actors doing very well. This is one of the cases where Frank Sinatra did a better job as director than as an actor, while he is decent in a secondary role, I found his direction much more impressive. The scenery is very nice to look at, and the story is strong. Also abundant are the likable script and while the secondary characters are a little clichéd some care has gone into making them not seem so. Overall, not absolutely wonderful, but definitely not bad. 7/10 Bethany Cox
  • Frank Sinatra stars & directs (?) this 1965 WWII drama of American & Japanese troops stranded on an island who have to make a shaky peace w/each before the inevitable happens. A small contingent of Japanese have been on the island for a while (due to a mishap) & they've managed to make the best of things, even constructing a pier as they put the finishing touches on a boat to escape but then an American plane carrying troops crashes on the island precipitously hitting the deserted part of the isle but when each side journey out, hostilities take over until cooler heads prevail as the Japanese commander proposes a truce but the ingrained sentiments the enemy has for each other leads to predictable results. Sinatra, who plays the team's doctor, stays in the background wisecracking his performance away letting the dramatic lifting to Clint Walker (from the Dirty Dozen) who butts heads w/the intractably racist commander. Pretty much on autopilot as to where the narrative is going so it's only a question of when those fatal shots will be fired. It's funny to note, three years later, a more economical take on the material named Hell in the Pacific, which starred Lee Marvin & Toshiro Mifune & directed by John Boorman, got the point of across w/less actors on screen. Also starring Brad Dexter, Tony Bill & Richard Bakalyan as soldiers.
  • One of those bizarre, counter-intuitive Hollywood films, in which Sinatra directed (and partially bankrolled) a morality tale about the futility of war and the obscureness of its causes. Narrated through a voiceover from the Japanese commander's perspective -- and there's a twist at the end -- we see the escalation of violence between a stranded planload of Marines (Sinatra is the salty Navy corpsmen who wants to be above it all) lead by a gung-ho but green lieutenant and the forgotten garrison of Japanese holding the island. There's a subtext here which sometimes is not so subtle, as the various bones of contention -- and violence -- between the two groups range from a water hole that neither group can get to without being shot at by the other, the means of escape from the island (a wooden boat, if you want your biblical symbolism), and ultimately meaningless concepts of honor. The film falters a bit at the end and is occasionally ham-fisted, but given the year (1965, well before the anti-war film had made a comeback in the US) and the social atmosphere of the times, it's a pretty remarkable little flick of its type. That it's Sinatra's only directorial effort will make it a must-see for his cinematic fans.
  • Stranded on a remote Japanese occupied island, a group of US marines consider a truce in this daringly different 60s World War II movie from the directing hand of Frank Sinatra. 'None But the Brave' would be Sinatra's only stint behind the camera, which is a shame as he shows more finesse as a filmmaker than actor here. The film's structure is fascinating as it spends equal time on depicting both US and Japanese sides. Sinatra also allows his Japanese actors to speak in Japanese with English subtitles, avoiding the awkwardness of foreign characters speaking Broken English to each other. There is a particularly effective sequence in which Sinatra crosscuts between Japanese and American troops between addressed at the same time, highlighting the similarities in approach between sides. As a neutral American-made World War II movie with nifty editing, 'None But the Brave' has nothing on 'Beach Red', which would come out two years later, but it is still an admirable effort. Better characters and acting may have helped. Tommy Sands often seems to get chided for his performance, but none of the actors (including Sinatra himself) offer much dimension - not that doing so would be easy since most of the characters are interchangeable. Then again, the film was probably never intended to be character-driven in the first place, and by not having a plethora of protagonists to sympathise with and like, it is easier appreciate the conundrum at hand. Do wartime conditions really still exist on an island cut off from the rest of the world? It is food for thought.
  • Warning: Spoilers
    In the middle of the Vietnam war, this World War II movie came out with the message "Nobody every wins". The storyline is of a small group of Japanese soldiers and American Marines stranded together on a island in the middle of the South Pacific: learning to overcome their differences and live together peacefully for a brief time. Each side starts out distrusting the other, until a medical emergency brings the pharmacist mate (Sinatra) to save the life of one of the Japanese soldiers. Trust and cooperation are finally lost when an American destroyer comes to pick up the Marines.

    This movie was ground breaking, by telling a story from the point of view of the Japanese commander: less than 20 years after the end of World War II. The opening titles show Kanji characters for "Warner Bros Pictures" and the title, before the English equivalents. The opening and closing narration is that of the Japanese commander in English.

    It also came out some 30 years before Clint Eastwood directed a pair of movies about the Battle of Iwo Jima ("Flags of Our Fathers" and "Letters From Iwo Jima") which separately told its story from the American and Japanese sides.
  • See it - This is another one of those neglected WWII movies that is way better than you would expect. This one's got Frank Sinatra, but don't worry, he's not in every scene. The main star in this one is Clint Walker, who you may remember from the TV show "Cheyenne" or the "Dirty Dozen." This movie is a really cool story about a military transport plane that crash lands on a pacific island held by a small band of Japanese soldiers. The Americans must worry about survival as well as the enemy. This is actually a pretty heart-warming movie as it shows the Japanese perspective as well. But don't worry, it's not all warm and fuzzy. This movie has its fair share of combat scenes.
  • No one really doubts Sinatra's prowess or talents as an actor. When he got a part he could sink his teeth into ("From Here to Eternity") or one that fit him like a glove ("The Detective") he could be brilliant. At other times he could just walk through a part ("Ocean's 11") or be actually lousy (the "Tony Rome" series). There are flashes of all these facets of Sinatra in this movie, and the premise of the film itself is a good one, but Sinatra's shortcomings as a director pretty much torpedo whatever chance this movie had to stand out as something really different. Obviously the film meant a great deal to him, as it was the first time he decided to direct a movie himself. The three scriptwriters (two Japanese, one American) put together a good story about two groups of opponents stranded on a deserted island, who must at least tolerate each other in order to survive, and soon realize that not only must they tolerate each other, but they actually have to depend on each other. Part of the problem is in some of the performances. Clint Walker is OK, a bit better than in many of his films, but not especially noteworthy. However, he is Laurence Olivier compared to Tommy Sands. Sands, who plays an inexperienced lieutenant, hasn't the slightest inkling of what he's doing; his idea of exercising authority among his men, for example, is to thrust forward his jaw, lower his voice, look angry and bark. It's an entirely one-note performance, and that note is off-key almost beyond belief. He is so unalterably, unbelievably bad that your first reaction is, "Where's a sniper when you need one?" I don't buy the theory that Sinatra directed Sands to act that way as revenge for his having divorced Sinatra's daughter. The other performances range from adequate to quite good (especially the lead Japanese actors), so it looks like Sands' performance was entirely his own idea. That explains why he only made one more movie. Sands just wasn't a good enough actor to make a go of it, as a perusal of any of his other movies will attest, especially 1958's "Sing Boy Sing", where his performance is almost as jaw-droppingly awful as it is here, showing that he had learned absolutely nothing in the seven years between that picture and this one.

    The film starts out well, gets a little sluggish in the middle, and has a bit more pontificating than is really necessary, but overall it's not really a bad picture (even though you could see the ending coming a mile away). It's just that if the film meant so much to Sinatra, he should have hired an experienced director suited to this kind of picture--John Sturges comes to mind--and concentrated on his performance, which is, frankly, uneven. This was actually an innovative idea for its time (1965); offhand, I can't think of any other film of that period that portrayed the Japanese as even remotely human (Cornel Wilde's "Beach Red" did, but that came two years later). Sinatra had a good idea in this film. It's just too bad that he really didn't know how to get it to come across.
  • zardoz-1322 October 2010
    Warning: Spoilers
    The co-production between an American studio--Warner Brothers--and a Japanese studio--Toho--exemplified not only director Frank Sinatra's liberal attitude but also a major World War II film that presents the Japanese in a sympathetic light. Indeed, "None But the Brave" qualifies as an anti-war film largely because two groups of opposing soldiers find themselves marooned on an uncharted Pacific island and wind up have to live with each other to survive. Three years later director John Boorman made a similar World War II feature with Lee Marvin and Toshiro Mifune called "Hell in the Pacific." "Parachute Battalion" scenarist John Twist and "Attack Squadron!" scribe Katsuya Susaki based their script on Kikumaru Okuda's story. They filter this politically correct saga through the diary of the Japanese officer commanding the troops on the island. Initially, the Japanese and the Americans are at each other's throats until they call a truce. No sooner has the tension between the two armies dwindled than they play a game of deception to mislead each other about their respective strengths. Mind you, this was the only feature film that Sinatra made. Although Sinatra received top billing, Clint Walker and Tatsuya Mihashi are the leads commanding the soldiers. Sinatra casts himself as a liquor guzzling medic and Tommy Sands has the best role in terms of character arc. He is the only person in the action who changes his mind. He goes from being a die-hard, kill-all-Japs lieutenant in the Marine Corps to a soldier reluctant to kill his mortal foe because he likes them. Meanwhile, Walker and Mihashi have the most developed, flesh-and-blood characters, even though they don't change.

    Lieutenant Kuroki (Tatsuya Mihashi) feels that the war has left his men and he behind as they soldier on a forgotten island in the Solomon Islands because they have lost contact with their own forces and nobody has come to relieve them. Lt. Kuroki writes about their tribulations in a diary to his wife. Kuroki's second-in-command, combat veteran Sgt. Tamura (Takeshi Katô) has little respect for him because Kuroki hasn't seen as much action as he has. Nevertheless, Kuroki maintains a firm grip on his command. He has ordered his men to construct a boat so they can leave the island. A storm destroyed their radio so they cannot contact outside help. One day a Japanese Zero fighter plane tangles with a Navy fighter escorting a C-47 transport plane. The Zero shoots down the C-47, but both planes knock each other out of the sky. Captain Dennis Bourke (Clint Walker of "Gold of the Seven Saints") manages to crash land the two-engine cargo plane on the beach. He is transporting a squad of Marines and a chief Pharmacist Mate, Francis (Frank Sinatra of "From Here to Eternity") when the plane crashes. Among the Marines is a hot-shot, gung-ho lieutenant, Lieutenant Blair (Tommy Sands of "Ensign Pulver"), who thinks that he is in command until Captain Bourke informs him that he is in command. Blair has about as much respect for Bourke as Sgt. Tamura has for Lt. Kuroki. The two armies square off against each other in a game of cat and mouse until Kuroki offers a truce to Bourke. Since the Americans are starving and Kuroki has a seriously wounded soldier, the Japanese commander approaches Bourke with an offer to share food if Bourke will let Francis tend to his soldier. Of course, Francis hasn't amputated a leg before he lays eyes on the Japanese soldier who will die from gangrene until Francis cuts off his leg. The two commanders cleverly try to deceive each other as to their strength. Eventually, they give up the pretense and share the island in harmony until Bourke's radio man, Air Crewman Keller (Tony Bill of "Come Blow Your Horn"), repairs the damaged transmitter and establishes contact with the U.S. Navy. Up until this time the two armies have lived in harmony, but when a Navy destroyer shows up, the soldier dispense with the truce and resume war as usual.

    Oddly, Sinatra doesn't appear in every scene and his role is more of a supporting character than a lead. Virile Clint Walker is well-cast as the tough-minded captain. The special effects look good except for a fake mountain in the Japanese back story scene. Nevertheless, this is a thoughtful and provocative drama that doesn't pull any punches. "None But the Brave" was lensed on location in Hawaii. Future "Star Wars" composer Johnny Williams provided the orchestral score. The film derives its title from the first stanza of John Dryden's poem, "Alexander's Feast": "None but the brave/ deserve the fair."
  • Warning: Spoilers
    Although he never had training or studied to be an actor, Frank Sinatra could act. With training and study, he may even have been a very good actor. Unfortunately, his very good acting was limited to just a few of his 60 plus film appearances. That's not to say he wasn't entertaining in a majority of his films. His musical movies were all quite good, with his singing and acting contributing, however much or little of the latter. Sinatra also was OK in those lightweight entertaining comedies of casino heists and similar flicks that he and his buddies seemed to have fun making.

    But in dramas or serious roles, Sinatra more often came up short. Two exceptions were his roles in "From Here to Eternity" for which he won the 1953 best supporting actor Oscar, and "The Manchurian Candidate." There was tough competition in the Academy Awards for 1962, but I think Sinatra was deserving of a nomination for his role in that film, which he didn't get.

    In his other military roles, Sinatra wasn't that good or believable. "Von Ryan's Express" was a big box office success in 1965, due mostly to a catchy story and some great performances by other actors – Trevor Howard, Wolfgang Preiss and others. Sinatra's sulky persona didn't seem real or believable for the highest ranking POW in the Allied Prisoner of War camp. In this film, Sinatra gives a so-so performance as Chief Pharmacist Mate Francis Maloney. But "None But the Brave" is lacking in some ways, especially in a few of the other roles and the directing. This was Sinatra's first try at directing.

    This is an interesting and different war flick that tells a story from both sides – the American and the Japanese. And, it respects the Japanese – one might say more so than the American Marines whose leaders are portrayed as inept and undisciplined. This was a joint American and Japanese project. It was released on screens in Japan ("Yûsha nomi") more than five weeks ahead of its February 24, 1965, release in the U.S.

    Nowhere could I find reference to any military advisers for the movie. I think that was a big mistake. Sure, Sinatra had a couple of war movies under his belt, but that didn't give him much savvy about the military. He didn't serve in the Armed Forces (a punctured eardrum is attributed with his being classified 4F), so he had no experience or first-hand knowledge about the military, deportment, etc. And he sure could have used it in this film.

    My dad was a near-career Army man who served in WW II and Korea. One brother was a Marine who served Viet Nam. Three of us were paratroopers – one of whom served in Viet Nam. To us and likely most other veterans, the portrayal of the Marines, especially the platoon leader and sergeant, was unreal and derogatory to the Corps. Any movie might show one person out of character, as happens in real life. But to have the green Marine lieutenant and his sergeant both lipping off and behaving badly is a real slam and highly unlikely. Tommy Sands is way over the top loud, obnoxious and dumb as 2nd Lt. Blair. It's not even right to refer to him as gung-ho. As Clint Walker's character, Capt. Dennis Bourke says, his men aren't Marines until they get some brains.

    Walker is an Army Captain and in real life there would be no question among any of the men that he would be the officer in charge. Yet Blair lips off at him, and Sgt. Bleeker (played by Brad Dexter) almost laughs at him. There were two other instances when grunt Marines disregarded orders – again, very unlikely as portrayed. Most of the Japanese actors were well-cast and very good. Although there, the Japanese sergeant also disobeys orders.

    One more role on the American side doesn't fit well. That's Walker as the Army pilot. This is a clear instance to me of miscasting. For one who remembers watching Cheyenne on TV (1955 – 1963) – well, the first five years of it before leaving home, it's hard to imagine Clint Walker as an airplane pilot and Army officer in WW II. He was a Teddy bear of a good guy, a beefcake who saved the local folk from the bad guys. He had that persona in most of the Western movies he was in as well. Walker was in "The Dirty Dozen" and wouldn't have fit very well there but for the fact that the majority of the cast were misfits intentionally. Most of the films Walker made outside of Westerns were flops, and he just doesn't have what it takes for serious drama or even comedy. He's right at home in a Western, but that's about it for Clint Walker.

    And, that's about it for my comments on this film, with these caveats. The action in this film is mostly good, except for the gyrenes standing up much of the time when they are returning fire with the Japanese. The filming location on Hawaii and the camera work are excellent. But, placing a latter day ideal for peace and humanity in a real combat time of WW II plays with emotions today and disregards the real emotions of the real protagonists of that time. As I said earlier, it's an unusual and interesting film.
  • TurboarrowIII28 August 2016
    Warning: Spoilers
    I saw this for the first time today. Really wish I hadn't bothered. Acting is average to poor, especially poor from Tommy Sands. It's meant to be an anti-war film so there is lots of moralising about the point of it all. There isn't much point to this film though I don't think.

    Sinatra produces, directs and stars. Not one of his better performances. He plays a boozy doctor also named Francis like him !. When he isn't drunk and spouting moralising stories he manages to expertly amputate the leg of a wounded Japanese soldier.

    Others have mentioned Sands' performance. It really is awful and amateurish. Frank should have cut his whole sorry performance out and that would have improved the film...a bit anyway.

    There was also too much insubordination and disobeying of orders especially on the Japanese side I thought. I don't think the Japanese would have behaved like that with their code of honour and obedience.

    Overall a very poor film and maybe that was why Frank never tried directing again. Although to his credit he didn't try to come across as the big star and gave others a fair chance.
An error has occured. Please try again.