Prince Valiant

Hollywood’s had a thing for swashbuckling. Duels, daring rescues, heroes with more charisma than sense—yeah, that’s their bread and butter. Now, you’d think they’d milk the King Arthur legends for all they’re worth—think Round Table, Merlin, Excalibur, the whole medieval shebang. Most of those flicks pull from the classics, Sir Thomas Mallory’s Le Morte d’Arthur and whatnot. But then there’s this 1954 wild card, Prince Valiant. And where does it get its juice from? A damn comic strip. Yeah, you heard me right—a King Features syndicated newspaper comic strip by some cat named Harold Foster.

So, I’m scribbling down ideas for this project, VIKINGS vs SAMURAI. And I think, “Maybe I’ll do a Foster, get that narrative flow with some jaw-dropping visuals.” But, nah. Can’t commit. Why? Because as slick as those Prince Valiant panels looked, they missed the whole point of comic books. They didn’t milk what comic book maestro Will Eisner called sequential art for all it’s worth.

But I digress.

Prince Valiant, served up by 20th Century Fox, ditches the old Arthurian lore for some new comic strip flavor. This flick, directed by Henry Hathaway, mixes up a brew of historical fantasy and comic-book flair. Problem is, it’s got a few too many duds in the cast. Robert Wagner steps in as Prince Valiant, sporting this ridiculous page boy haircut—looks like he got it from the discount bin at some medieval Supercuts. And let’s just say his acting chops don’t exactly carve out a niche. Wagner’s performance is flat, man—couldn’t hold a candle to James Mason, who’s working the role of Sir Brack like a maestro, dripping charm and menace in every damn scene.

So, here’s the skinny: Prince Valiant and his clan hightail it out of Scandia after this Viking brute, Sligon (played by Primo Carnera), grabs the throne. They bounce to Britain and hook up with King Arthur (Brian Aherne), hoping for some shelter. Valiant gets sent to Camelot to train as a knight, thinking he’s gonna waltz into the Round Table. But guess what, buddy? It’s not a free ride. He learns quick you gotta earn that seat—noble blood ain’t enough. You need some serious balls and skill, and a couple of scars wouldn’t hurt, either.

Valiant signs up as a squire to Sir Gawain (Sterling Hayden), learns how to swing a sword, keep his ass on a horse, you know, knight stuff. But Sir Brack’s got his eyes on the kid. Offers him a little mentorship—except, come on, it’s James Mason; you know the dude’s got some sneaky shit up his sleeve. And wouldn’t you know it, Brack’s not just a knight; he’s playing dress-up as the Black Knight, stirring up all kinds of trouble. Takes Valiant out on a little “training mission,” which ends with our boy catching an arrow in the back and getting nabbed by some Viking goons. And that’s where things get real interesting.

”Traitor” is a word that winners give to losers, and you’ve lost. But I shall win a throne that was mine from birth. When I march on Camelot, all the losers will throw down their arms, and hail me as their true king.

What’s a medieval romp without a little love triangle, right? Valiant’s got the hots for Lady Aleta (Janet Leigh), who patches him up after he gets skewered. It’s all sweet and predictable—Florence Nightingale syndrome or some shit. But then Aleta’s sister, Ilene (Debra Paget), waltzes in, and suddenly we’re knee-deep in romantic hijinks. Gawain’s under the impression Aleta’s sweet on him, Ilene’s pining for Gawain, and Valiant’s caught in the middle like some love-struck dolt. It’s like they took a left turn into screwball comedy territory, and honestly, you’re half-hoping for the Black Knight to come in swinging just to shake things up.

But let’s give credit where it’s due—visually, this film’s got some chops. Shot in CinemaScope and Technicolor, it’s eye candy from start to finish. You’ve got those lush British landscapes, elaborate sets, and costumes so vibrant they practically leap off the screen. Those castles, man, they’re pure medieval porn. The Eilean Donan castle in Scotland even makes a cameo. The action scenes? It’s not half bad, either. Swords clashing, a castle burning, good guys versus bad guys—all the stuff that keeps your blood pumping.

Franz Waxman’s score ties it all together, throwing in a few nods to Richard Wagner’s Ring Cycle operas. That music’s got some epic sweep to it; it really sells the whole grand adventure vibe. But then, we hit the brick wall of the script. Dudley Nichols penned the screenplay, but it’s got more clichés than a bargain bin paperback. And those Vikings? Rocking horned helmets like it’s Halloween. Come on, Hollywood, get with the times—those are about as historically accurate as a rubber sword.

The casting doesn’t do the film any favors, either. Sterling Hayden, as Gawain, looks the part but talks like he’s straight outta Dodge City. I guffawed when he spouted “Sorry, my beef bones!” And Robert Wagner? Well, the guy’s got all the presence of a wet paper towel. Hard to buy him as this heroic figure when you keep expecting him to trip over his own feet.

At the end of the day, Prince Valiant is a mixed bag. It’s got the visuals and the action, but the script’s a joke, and the lead actor’s a dud. Its amazing he eked out a career n Hollywood. Still, for all its flaws, there’s something about it—a certain charm, a throwback to an era when movies were these big, lavish spectacles, even when the story didn’t quite hold up.

So, is Prince Valiant a classic? Hell no. But for fans of old-school Hollywood and Arthurian myths, it’s a nostalgic trip down memory lane. Knights, castles, comic-strip heroes—it’s all there, brought to life on the big screen, warts and all. And sometimes, that’s enough.