The Saint by David Smith
This programme had a long and distinguished run in the mid, to
late sixties and starred Roger Moore as Leslie Charteris’ adventurer and
some time criminal investigator Simon Templar.
This television programme bore little resemblance to
Charteris’s novels and yet could not be classed as anything but authentic
as he himself was involved in the production. This was an updated creation
based on his earlier work, more in style than content but nevertheless bore
many trade mark touches, such as style and panache and a taste for adventure.
Not to mention a theme song including his own trade mark Saint signature
tune.
One of the simple things that grabbed me as a young person
watching these shows, was that at the beginning Roger Moore spoke directly to
us, the viewer and drew us into his latest adventure. We were already in on a
secret that often those around him often seemed not to know he was The Saint
and they’d better watch their step.
I think another factor that contributed to the shows success
was Roger Moore himself and his acting style, Roger was very smart and tall
with screen idol, good looks. Some actors might have distanced themselves from
the audience right there but somehow Mr Moore managed to remain eminently
watchable.
Roger Moore was a good choice as leading man because this show
was in people’s homes for an hour every week, whereas a movie, which might
have a star that entertains you for two hours, in one tailor-made vehicle.
Neither this star nor their story might be able to sustain such a long lasting
relationship with the audience week in and week out. The Saint managed this for
many years, a testament to Roger’s popularity and the quality of the
writing and premise.
One gimmick that may have helped even just a little was the
Saint’s car and its colour. We must remember that the Saint was first
transmitted in Black and White. This meant that we the viewers needed to be
able to pick out the Saint’s car at a glance, even in a fast moving car
chase. Hence I suppose the decision to paint it white. The car itself was
unusual, a Volvo coupe that was most uncommon on the roads at the time in this
country. This also added to his cosmopolitan image and looked pretty cool as
well.
The Saint looked like a businessman or perhaps even an
aristocrat yet there was always the chance that he’d go up against people
from these backgrounds if they acted in an unjust way to someone with less
power and influence than them.
Roger of course went on to further success following in Sean
Connery’s footsteps as Ian Fleming’s James Bond.
The Saint was a production of it’s time and reflected the
era that it was set in very well, later in the colour episodes often the
costumes took advantage of the new freedom of expression that colour
afforded.
The Saint had the luxury of many famous guest stars as either
damsels in distress or villains of the week so was interesting and varied for
the viewer.
I think that one reason that Roger’s character in the
Persuaders was less successful, than his Saint character was that he was
depicted as a Lord. This eliminated the implication set up in the Saint that
Simon Templar was one of us who had made good and defended those who were in
trouble because he identified with them due to some undisclosed past
experience.
Lord Brett Sinclair however seemed to do what he did simply for
kicks along with his friend who appeared similarly motivated.
Perhaps the Saint was one of the first anti-heroes that became
so popular in the sixties, seventies and eighties, as he was looked on with
more than a little suspicion by the authorities. Perhaps these were the
subtleties brought to the character by the original creator Leslie Charteris
who knew that a flash car and a casual attitude were not quite enough, whatever
the reason this series was very successful and has an enduring appeal.
David Smith
© Copyright October 2001
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