The Saint in New York (1938) Poster

User Reviews

Review this title
26 Reviews
Sort by:
A dark and enjoyable start to the Saint films with a really good presence in Hayward
bob the moo13 February 2006
With crime rife in New York due to gangs and a small group of men in particular, Inspector Fernack makes the decision to bring in Simon Templar aka "The Saint" to help. The Saint is known as someone able to bring down criminal organisations but has gained notoriety due to the criminal methods he uses to do so. Dispatching one of the men with a clinical kill very early on, Templar quickly uncovers the existence of a character known as the "Big Fellow" – clearly a top man behind the gangs. Moving steadily into more and more danger he tries to reach and remove the Big Fellow to cut the head off the snake.

I'm not sure why this film was apparently banned in Sweden on its release but I would hazard a guess that it had something to do with the marvellous anti-hero qualities that Templar is given in this film. The plot could have been straight out of any crime b-movie as it essentially involves bringing "justice" to New York by taking down a major crime syndicate; however in many other films from the 1930's the hero would have been a cop trying to get a conviction and, if he killed anyone it would have been by necessity rather than choice. However with this film we have a character who kills by choice and is as much a killer as he is a bringer of justice. This dark edge makes the film more interesting than the standard plot suggests it should be and I was quite taken in by it even if the quest for the "Big Fellow" wasn't really delivered with any tension or mystery (which was a bit of a shame, although it did enough to keep me guessing and watching).

The real feather in the cap is Louis Hayward who plays it with the perfect mix of the suave and the psychotic. He is convincing as a bit of a smooth character but, more importantly, he convinced me as a cold-blooded killer and I enjoyed the dark feel he brought to the film. Outside of his though the performances are either just OK or wooden but nothing better; they more or less do the job but I could help feel that Hayward deserved more than the very basic caricatures of cops and criminals.

Overall though this is a tough and enjoyable b-movie that features an enjoyably dark anti-hero. Later films in the series (well, the next one in fact) would quickly lose touch with this dark, cruel character and tone it down to be nonexistent but here it is in full effect and it makes a standard (if engaging) plot much better than it deserved to be.
21 out of 21 found this helpful. Was this review helpful? | Report this
Extraordinary in its Ethical Dimension; a Fast-Paced Noir Mission
silverscreen88826 June 2005
This by my lights is a splendid and very good story about Leslie Charteris's enigmatic character, Simon Templar, "the Saint"; it was the first of a series of films which starred several actors inn the role. Louis Hayward is fascinating inn the part, occasionally a bit stodgy but intelligent, and compelling. The film was directed by Ben Holmes, and also stars Kay Sutton as an enigmatic bad girl, Sig Ruman, Jonathan Hale, Jack Carson and many others in small but effective parts. The storyline is what set\s this ethical masterpiece apart. Templar is tracked down in foreign parts by an honest man representing a group in New York who want to bring down the mysterious crime boss who is poisoning the city with his influence. Templar, for his own reasons--the challenge, the chance to accomplish something worthwhile--agrees to risk his life; not for altruism but for his own code of values, his own desire to use his talents to the full. He starts pushing, commits some questionable break-ins and more,, all the time making himself more dangerous and getting closer to finding out who the big fella" is. I will not reveal the climax or the ending, except to say Templar has fallen in love with Kay--but she can never be his after what happens. Roy Webb wrote the music; the production values of this B/W gem are subtle and a little above average. But what drives it is the script, written from Charteris's novel,; it is the best of an interesting series because it is fast-paced, original, clever in dialogue and clear in its contexted ethical purposiveness; the group who hired him and the viewers finally come to know that they picked the right man, whatever doubts they may originally have had about the famous and notorious Simon Templar. Sutton is very good; Carson and several others are very competent also. Highly recommended.
25 out of 26 found this helpful. Was this review helpful? | Report this
Stylish b noir
Gary17045910 October 2005
The first Saint movie was a very good effort, true to the spirit of the book albeit made on the cheap by RKO. I grew up thinking that Roger Moore was the Saint and no-one could top him, but have to admit that Louis Haywood was just right in the title role with the right amount of debonair, imperturbable devil-may-care attitude. I hadn't seen this for over 10 years until off UK cable TV tonight, but there was a small but significant chunk of action which for some reason was cut out of the print shown. I hope the full version is still out there somewhere!

The Saint is "hired" by the NYPD to flush out and deal with a group of gangsters strangling the city. In his role as unpaid mercenary Prince he has to deal in his own inimitable fashion with 7 metaphorical dwarf hoodlums before moving on to the shadowy "Big Fellow" whilst falling in love with an alluring raven-haired femme fatale. This is Snow White for adults!

A real pity Haywood only played the Saint this glorious once in Hollywood - I don't count his 50's British attempt - although Sanders was very funny in his 5 films didn't really hit the right note. My favourite Haywood film came much later, Fritz Lang's "House by the river", an overlooked suspense gem from 1950.
14 out of 14 found this helpful. Was this review helpful? | Report this
This Saint takes no prisoners
reve-212 December 1999
Although I had seen all of the other films in the Saint series, I had never viewed this one. This was the very first one in the series. I was pleasantly surprised to see that Louis Hayward played the character as a dapper but stern enforcer. His assignment is to rid New York of its' 6 most dangerous criminals. His intentions are not to capture them but to intentionally kill each of them. His verbal jousting with some of his intended victims provide lots of entertainment as well as suspense. The character, as portrayed by Hayward (long one of my favorite actors) never loses his cool detachment and always maintains his sense of humor. IMHO this is a very good film. Lots of entertainment including suspense, action, and humor.
20 out of 21 found this helpful. Was this review helpful? | Report this
The Saint comes to the Big Apple
Chris Gaskin7 March 2006
The Saint In New York is the first of the Saint movies and of the ones I've seen, one of the best.

In this one, The Saint is sent to New York to investigate gangsters in the underworld there. There are plenty of shootings and killings and he gets involved in some quite dangerous situations. He is after one particular gangster known as The Big Fellow who is the leader of a gang. He also falls in love.

The cast features Louis Haywood as the Saint, Kay Sutton and Jonathan Hale.

The Saint In New York is worth watching if you get the chance. A treat.

Rating: 3 stars out of 5.
9 out of 9 found this helpful. Was this review helpful? | Report this
original Simon Templar
didi-523 February 2003
The first film in RKO's series (continued, successfully, with George Sanders, and unsuccessfully, with Hugh Sinclair), this features tiny, white-suited Louis Hayward, as the dangerous psychotic Simon Templar, law-enforcer of a kind (mainly by shooting people), on a mission to find the 'big fellow', head of a crime gang. Hayward is excellent in this, having just the right amount of repartee and daring (without making the role comedic as Sanders did or boring as Sinclair did), as is his love interest, Kay Sutton, who seemed to do very little in films despite her good looks and strong voice. One gripe about the film would be that the print currently available on video is poor as regards picture and sound - I understand this entry in the series was lost for a while and it really does cry out for restoration. Still, this aside it has many compensations. Hayward went on to be the man in the iron mask, the son of Monte Cristo, and the snipey son Oliver in My Son My Son. Jonathan Hale, introduced here as the Saint's cop foil, went on to other Saint entries and eventually committed suicide.
13 out of 14 found this helpful. Was this review helpful? | Report this
A Charming Contract Killer
bkoganbing3 May 2008
The first film adaption of Leslie Charteris's hero Simon Templar, aka The Saint finds The Saint In New York taking on the job of cleaning out organized crime in the big apple. As if Thomas E. Dewey wasn't doing enough around that time.

But I doubt Dewey would condone The Saint's methods. He's been put on retainer by an elite group of civic leaders concerned about rising crime rate. What they get is little more than a contract killer, albeit a charming one.

Louis Hayward plays The Saint and then left the role to return to it for one more go in the Fifties. I wish he had done a few more episodes in this film series.

What The Saint's been hired to do is eliminate one way or another a gang of six that control all the crime in New York City worth controlling. There's a seventh involved, but nobody knows who he is, he's an almost mythical figure known as the Big Fellow.

Given this is a B film with a limited cast there's not too much suspense involved and it's rather obvious who the mastermind is. Still this Saint film gets by on the considerable charm of Louis Hayward and it's easy to take.
10 out of 11 found this helpful. Was this review helpful? | Report this
The original.
Saintly-228 May 1999
Although many may argue that the later portrayers of the Saint (Roger Moore, Ian Ogilvy) are better, one has to admit that, for a start, this film is a good start. Hayward has the essence of Templar's quirky humour, and is a good actor in his own right. A must see for any die-hard Saint fan.
12 out of 15 found this helpful. Was this review helpful? | Report this
A big improvement over the typical B-detective film
MartinHafer6 April 2007
Warning: Spoilers
While the movie lacks the charm and sophistication of George Sanders (who most associate with the leading role), it makes up for it in a big way by being so very different. Instead of a crime fighter who always wraps everything together neatly for the police by the end of the film, this version of the Saint just kills the bad guys or gets them to kill each other!! I really liked this, as the typical role played by Boston Blackie, the Falcon or Charlie Chan is way too predictable--they NEVER would plug a bad guy who isn't even resisting arrest or making an attempt on the hero's life! Here, we find a supremely practical crime fighter who doesn't bother with courts and evidence! In many ways, it's like taking a movie such as THE STAR CHAMBER or MAGNUM FORCE and fusing it with a traditional 1930s and 40s B-detective film. Simon Templer's methods are sure a lot more practical and fun to watch than other crime fighters! Apart from the way he dispatches criminals, the film is a rather standard film about bad guys and a mystery--in this case WHO is responsible for leading a crime syndicate in New York City. Generally good pacing (though it DOES sag a bit in the middle), decent but not so sophisticated acting and a good script all work together to make one of the best examples of the genre. This is an excellent film for all--particularly lovers of old B-movies.
7 out of 8 found this helpful. Was this review helpful? | Report this
An Un-saintly Saint
dougdoepke11 August 2009
Hayward does cut a dashing figure with an easy smile, a penchant for poetical one-liners, and a snap-brim fedora. His version of the Saint is also more interesting than the standard sleuth of the period since he's not above breaking the law when it serves justice or following his own code of integrity. Too bad this kind of character complexity didn't survive the many sequels.

The story itself is pretty routine: cleaning up the city by getting the mysterious Big Fellow. Not much excitement or suspense as the one-man-army sort of bounces back and forth between bad guys, snapping off occasional nifty one-liners. Then there's the sexy Kay Sutton to ease the eyes after all the ugly bad guys. And though her delivery sometimes sounds a flat note, she and Hayward manage to make their boilerplate romance surprisingly wistful.

Anyway, I've got to say this about someone, and I think it's director Ben Holmes. How many of these programmers have you seen where somebody gets shot in one scene, yet turns up miraculously made whole in the next. Not here. The Saint gets wounded in one scene and, by golly, he favors that shoulder for the rest of the film. So an unofficial Oscar for Attention to Neglected Detail to Ben Holmes by default since such matters are usually the job of the director. Then too, on a slightly different note, I hope cable comes up with Holmes' intriguingly titled Cutie on Duty (1943) sometime real soon.
4 out of 4 found this helpful. Was this review helpful? | Report this
Louis Hayward makes an interesting "Saint"...
Neil Doyle21 March 2007
Before George Sanders took over the role, it went to LOUIS HAYWARD for THE SAINT IN NEW YORK. Hayward was an interesting actor who should have had a better career than he did in Hollywood, proving that when he got a chance to play an interesting scoundrel ("Ladies in Retirement"), he was fearless in letting his bad side show.

Too bad he didn't play "The Saint" more often in the string of films RKO came up with in the '40s. He's good, better than his material here which is strictly a by-the-numbers sort of thing.

"You should have a question mark after your name," he tells his romantic interest, KAY SUTTON, a dark beauty who looks somewhat like a softer version of Gail Patrick. She's an enigmatic woman and remains so since her character is never developed.

Hayward joins the search for "The Big Fellow", head of a crime gang wanted by the NYPD and along the way encounters several misadventures with mob members being disposed of in his unorthodox way.

Interesting to see JACK Carson, JONATHAN HALE and SIG RUMAN in the supporting cast.

Modestly entertaining but nothing special in this series.
5 out of 6 found this helpful. Was this review helpful? | Report this
True in spirit
ccamfield6 January 2000
I caught The Saint In New York late one night on TV. It is actually - violence and all - a very faithful translation of Charteris' novel of the same name. Simon Templar's roguish audacity is very well conveyed by Hayward and the film is a lot of fun.
4 out of 5 found this helpful. Was this review helpful? | Report this
Exciting and witty action mystery with Louis Hayward a tough Templar
csteidler13 April 2012
"What we need is a Robin Hood," suggests a citizens' committee member to the police commissioner. New York is being overrun by a few mob leaders: the police do their job and arrest lawbreakers, but crooked lawyers and bought juries just set them free again. "Mr. Commissioner….You must have heard of Simon Templar, the Saint?"

Yes, everyone knows the Saint's reputation; it is quickly agreed to recruit his help, if possible. A search for the Saint covers continents, until he is at last tracked down near the center of a South American revolution—which is not surprising, given his reputation for courting adventure.

What does the Saint find so appealing about revolutions? "I don't know….Maybe it's because I like to see justice for the underdog….maybe it's simply my love of anything that smells of danger or trouble." Louis Hayward is immediately arresting as the Saint, from his careless posture to his easy grin and wary eyes to his sparkling conversation. Intrigued by the idea of aiding a city in need, he agrees to fly to New York—but only if he is allowed to work using his own methods.

Jonathan Hale is strong as the police inspector whose respect for the law makes him leery of trusting an outsider like Templar; grudging respect grows into good teamwork as the two men gradually learn each other's ideals and motivations.

The rest of the cast is also excellent—solid character actors in well-written roles. Paul Guilfoyle and Jack Carson are semi-comical as a pair of dim yet rather philosophical trigger men. Kay Sutton is appropriately alluring and mysterious in her role as a tragic female. Sig Ruman plays it straight as a crafty mob boss. An actor named Cliff Bragdon is swell as a taxi driver who can "handle a wheel better 'n any guy in this screwy town."

A good script and strong RKO production values—and Hayward's charismatic touch as the Saint—add up to a top B mystery.
2 out of 2 found this helpful. Was this review helpful? | Report this
Louis Hayward as "The Saint"
blanche-216 October 2010
Louis Hayward is "The Saint in New York" in this 1938 film starring the Leslie Charteris character of Simon Templar, aka The Saint. Here, Simon is sent to New York to deal with gangsters who have escaped punishment by the justice system, and also to identify the man behind all of them, "The Big Fellow." I have to admit that though I've seen Roger Moore, Ian Ogilvy, and George Sanders in the role and enjoyed them, my favorite Saint has always been Louis Hayward since I first saw this film years ago. Hayward is smooth as silk both in manner and voice, as well as charming and lethal. While Sanders especially, with his talent for the acerbic, mined the humor in the role, Hayward mines the elegance, the grace, the light touch.

Hayward is backed up by the beautiful Kay Sutton, who reminded me of Kay Francis, Sig Ruman, Jonathan Hale, and Jack Carson in an early role.

Very good. It's a shame Hayward didn't do the role more.
2 out of 2 found this helpful. Was this review helpful? | Report this
He ain't got no Halo!
mark.waltz8 November 2010
Warning: Spoilers
The first in a series based on Leslie Charteris' character, this B crime drama is a predictable programmer meant to pack in as many shady characters as possible, a bit of mystery and some fast-moving action. Louis Hayward, in his only appearance as the Saint, is not as good as his successor George Sanders would be. Here, he seeks to either knock off or arrest a group of New York gangsters and their ring leader. Kay Sutton is the gang moll he briefly gets involved with, and Jonathan Hale (who would be back in several more of the series) is the New York detective he is brought onto the case by. A few exciting moments, but not really much else. In the end, it's all pretty predictable, although there are a few moments of genuine surprise. The problem in most of the series is that after an interesting set up, the plot moved in such a vague manner it was often difficult to remember who was on who's side and how each of the villains played a part in the escapades.
3 out of 4 found this helpful. Was this review helpful? | Report this
The gentleman vigilante
Jimmy L.28 August 2011
The print I saw wasn't great and the movie starts off a little slow, but once the plot kicks in this is a great little pulp adventure. It's a quickie B-movie, but it's a lot of fun.

Simon Templar, a.k.a. The Saint, is a sophisticated thrill-seeker who hands out vigilante justice to those who deserve it. He's a great character. In this film he works alongside the police (to a degree), while employing his own peculiar (and brutal) methods. He's like Batman, but wearing a normal suit and tie. The guy's quick-witted and resourceful, and he leaves dead bodies in his wake. The man plays by his own rules, but he sure gets results.

THE SAINT IN NEW YORK (1938) is the first of many film outings for the Simon Templar character. Played by Louis Hayward, Templar is a scrappy sort of globetrotter with the charm of an Orson Welles (think Harry Lime). He's a man of the world and something of an intellectual. One of the henchmen he meets (Paul Guilfoyle in a great performance) is awed by Templar's way with words. ("It's like poetry.")

This Saint adventure is action-packed, with Templar taking down a city- wide crime syndicate over the course of a few nights. Often he is taken into custody by his enemies, only to be the only man left alive. There are some pretty exciting fights. The kind of stuff you might see in a pulp magazine or hear on an old-time radio broadcast: The lights go out, a shot is fired, there's a shriek, furniture tumbles over, two more shots, a door opens, a window breaks, another shriek, etc., etc. It's good stuff and The Saint is a force to be reckoned with. Like I said, he's Batman in a suit.
2 out of 3 found this helpful. Was this review helpful? | Report this
First Saint film, also the best
TheLittleSongbird19 November 2016
The Saint films starring George Sanders are very enjoyable films (apart from the disappointing 'The Saint's Double Trouble'), and Sanders is great in the role, but only 'The Saint Takes Over' is almost up to the level of 'The Saint in New York' and closest in spirit to it.

Signalling the start of RKO's nine-film Saint films, 'The Saint in New York' for me stands out as the best. Not without its imperfections, but is regardless hugely entertaining. It does sag ever so slightly in the middle and, other than the entertaining Jonathan Hale and Kay Sutton (despite a relatively underwritten role) who brings the right amount of allure and mystery, the supporting cast while still solid and well suited to their roles are not hugely memorable.

Louis Hayward however is simply terrific in the title role, bringing suavity, charisma, elegance and toughness to a potentially stock character that actually has shades of complexity. While low-budget, 'The Saint in New York' is nicely shot and is aesthetically atmospheric. The music is lively and haunting, while the direction keeps the pace going but also allows the plot to breathe.

As for the script, it is sharp, cutting and witty without being wordy, simplistic or clunky. The story is the toughest, edgiest and darkest of the series, meaning that there is more of a sense of mystery than the Sanders outings, as well as some nicely balanced humour. The mystery itself is diverting and doesn't suffer from the somewhat short duration of the film, meaning it doesn't get rushed or confused. The ending is one of the more satisfying ones of the series.

Overall, the first Saint film is also the best one. As enjoyable as the Sanders Saint films are, 'The Saint in New York' executes various elements better and there is a preference for the darker and tougher edge to the still appealingly light-hearted one of the succeeding films. 8/10 Bethany Cox
1 out of 1 found this helpful. Was this review helpful? | Report this
I'm such a hero I hardly recognise myself.
Spikeopath12 April 2014
So it begins, the start of the realisation of Leslie Charteris' literary creation, one Simon Templar, AKA: The Saint. And it's a good start to be sure.

Templar here is played by Louis Hayward, all smirky confidence, lithe and deadly, Templar is "hired" by some big city suits to snuff out New York's baddies who have in turn been snuffing out policemen and getting away with it. He's deadly, has a quip on the tongue and laughs in the face of danger, and of course he can charm the ladies as well. He gets into scrapes, meaning we get to enjoy his many escapes from impending death, he does indeed assassinate bad guys; and has us firmly on side in the process, and he crucially has us hankering for more of Charteris' rogue good guy!

It's good old fashioned fantastical fun mixed with some rugged 1930s gangster shenanigans. Hooray! 7/10
1 out of 1 found this helpful. Was this review helpful? | Report this
"Gentlemen, what we need is a Robin Hood"!
classicsoncall4 December 2010
Warning: Spoilers
For my first encounter with The Saint, I'm glad it was with the original film in the series, this one featuring Louis Hayward in the role of Simon Templar, though continued in subsequent pictures by the likes of George Sanders and Hugh Sinclair. Hayward refers to himself as a 'lone wolf' later on in the story, describing the way he operates. Which is interesting in light of the fact he went on to portray that character in 'The Lone Wolf' TV series of the mid-Fifties.

I was somewhat struck by the idea that The Saint was called on to deliver a brand of vigilante justice way back in 1930's New York. Operating under the auspices of the NYC Police Department, Templar was hired to dispatch mob big-wigs who always managed to avert prosecution with the help of shady lawyers. The concept of revolving door justice seems a product of more recent times, but obviously that wasn't the case at all as we see here.

Clever repartee and offbeat disguise help The Saint make his rounds in New York as he gets closer and closer to the identity of The Big Fellow, one of the men on The Saint's hit list. In the midst of it all, he manages to get involved with gun moll Kay Sutton (Fay Edwards), who's motivation to help Templar isn't adequately enough explored. Sure he was good looking, charming and mysterious, but why trade that for her connections?

On the flip side, I thought Templar walked into too many situations that surely should have cost him his skin, but hey, the guy was a genius according to henchman Hymie (Paul Guilfoyle). Apparently The Saint thought so too - "I'm such a hero I hardly recognize myself". Which was a curious thing for him to say, since every now and then I thought he resembled a young Desi Arnaz.
1 out of 1 found this helpful. Was this review helpful? | Report this
The Saint starts his cinema career
vollenhoven25 September 2009
Simon Templar aka the Saint started his long and illustrious career in 1929 with the release of Meet the Tiger as written by the brilliant Leslie Charteris. By the time this movie came along The Saint was already a very popular book character. And while most people know of Roger Moore, Ian Ogylvie, Simon Dutton or George Sanders playing the Saint this first one is played by Louis Hayward (he played in the first movie and the last one of the b/w series) and he does it very well. This Saint is light years away from the later suave performance of Sanders or Moore. This is a straight "revenge" story in which the Saint takes care of the organized crime in New York, by means that are not available to the police. In the book he has stay clear of both parties but in the movie, a knee fall to morality of those days, he is more or less asked by the police. The Saint does so in a whirlwind 48 hours. The 60 odd minutes the movie lasts fly by and leaves you with the feeling to see more.

In a recent movie by Tarantino (Inglorious Basterds) he kinda gives a wink to the Saint by letting his heroine read a novel "Le Saint a New York", which proves that the Saint is still out there. With a new TV-pilot just behind the horizon.

Now if the powers that be only released a full DVD-boxset of all b/w Saintmovies I for one would be a very pleased person.
1 out of 1 found this helpful. Was this review helpful? | Report this
First Entry In Series
DKosty12323 January 2017
Warning: Spoilers
Louis Haywards only entry as the Saint, this movie has some interesting legends. The biggest one is that Alfred Hitchcock was supposed to come to the United States and direct it. Hitch did not come to the US until 2 years after this was made, so that did not happen.

If Hitchcock had come over, I doubt that he would have directed it at RKO Pictures. I mean this movie is good but it is an obvious "B" Picture made to fill out double features on Saturday afternoons. I think the picture would have had a different cast and star and been made by Selznick on a much bigger budget if it were introducing Hitchock.

The changes of how this movie was made are not obvious on camera. What is obvious is that Hayward was not going to be the man down the road. He is okay, but George Sanders would be better. Sig Ruman, a talented supporting actor is among a pretty good supporting cast in this one.

It did sell a lot of tickets, though I wonder what the main feature was in theaters in 1938? One interesting feature that year was Room Service starring the Marx Brothers and featuring an unknown Lucille Ball. This might have been the under card for that one.
0 out of 0 found this helpful. Was this review helpful? | Report this
"My friends usually wash their hands before they hit me."
utgard1411 January 2015
Frustrated with the inability of the police and courts to deal with organized crime, a citizens committee decides to take matters into their own hands. They enlist the help of Simon Templar, aka The Saint, a British amateur crime-fighter not afraid to break the law or take lives to stop crime. Templar's given a list of names of six criminals and sets out to eliminate them one by one, saving a police inspector's life and rescuing a kidnapped child along the way.

The first in RKO's "The Saint" series, based around Simon Templar. After this film, Louis Hayward would be replaced by the much more debonair George Sanders. Hayward would return to the character once more in the '50s in a movie made by Hammer, The Saint's Return. This first Saint film is really good. While I prefer George Sanders overall, there's certainly a gritty appeal about Hayward's Saint. He's a full-on vigilante murderer, a predecessor to the Charles Bronson-types we've had in films the last forty years. He's calm, cool, and collected no matter what jam he finds himself in. He's fun to watch. The tacked-on romance is lame and comes out of nowhere but, besides that, this is an entertaining movie.
0 out of 0 found this helpful. Was this review helpful? | Report this
I Have No Idea Why He Was There But It was a Fun Ride
verbusen7 January 2015
Warning: Spoilers
I'm a Saint fan so when I saw this on TCM I jumped at the chance to watch it. I'm really only used to the Roger Moore Saint and I never read the books but I also watched one or two earlier Saint films, so that's where I am now. So, my best guess is The Saint came to New York to kill off the entire underworld here. Not sure why. Did they say bad things about the King? Queen? Who knows, but he sure did have a grudge against these guys. The New York police don't know either but welcome him since you know, the system is crooked. So off we go and along the way Simon gets shot and kisses a hot woman who dies (I think), oh whats the point, you know you are intrigued. The Saint is a one man Lee Marvin killing machine. Totally out of character from the rest of the series even to this day, this Saint deserves a watch. A good stiff drink is in order as well or two or three, or however many you wish. Enjoy. 7 out of 10. I have no idea looking back why he was there but he killed a lot of the mob on his way out.
0 out of 0 found this helpful. Was this review helpful? | Report this
The Saint In New York
a_baron29 March 2014
Simon Templar, the character alluded to as The Saint, is best known through the UK TV series that ran from 1962 to 1969 with quintessential Englishman Roger Moore in the title role; Moore would of course go on to play the equally enigmatic James Bond. Other, later attempts were less convincing, but in spite of the runaway success of the Moore version, we should never forget the original.

The Saint began life as a literary character, the creation of Leslie Charteris (1907-93), who in spite of his emphatically English name was half-Chinese and born in Singapore. The original Saint was a much darker character than portrayed by Roger Moore, Ian Ogilvy or (on film) by Val Kilmer; he was a murderer, for that is what we call vigilantes who execute gangsters without due process of law.

In this short black and white film we see Louis Hayward as a sardonic avenger brought in by the legal authorities in New York to clean up the city's underworld any way he sees fit. Even making allowance for 1930s gangster films, the script, the plot (including the romantic sub-plot) and most of all the escapes, are silly, but the one-liners more than compensate for that:

"you're getting so crooked, you don't even trust yourself" and later after dispatching two hoods: "they've gone to join their fathers, if they had any". However did that one get by the Hays Code?
0 out of 0 found this helpful. Was this review helpful? | Report this
The name is Simon Templar
Prismark1013 April 2014
Louis Hayward plays the Saint, rather less suave than Roger Moore would play him a few decades later in the television series but more of a dapper thuggish charm.

This Saint is not a copper or a sleuth but more of a Robin Hood type vigilante who is not prepared to mask himself like Zorro and work incognito.

This Saint is prepared to break the law and serve justice his own way as he has been hired to clean up the city and find the Big Fellow with Kay Sutton helping out and adding romantic interest.

The adventure is a potboiler with plenty of fisticuffs but the mystery element is lacking as a modern audience will easily guess who the Big Fellow will turn out to be.
1 out of 2 found this helpful. Was this review helpful? | Report this
An error has occured. Please try again.

See also

Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews