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The Saint in New York
USA 1938
produced by William Sistrom for RKO
directed by Ben Holmes
starring Louis Hayward, Kay Sutton, Sig Ruman, Jonathan Hale, Jack Carson, Paul Guilfoyle, Frederick Burton, Ben Welden, Charles Halton, Cliff Bragdon, Jay Adler, George Anderson, Shirley Coates, Lester Dorr, Paul Fix, Lee Phelps, Anthony Warde, Leon Belasco, Stanley Blystone, George Irving, Richard Lane, Rollo Lloyd, Torben Meyer, Frank O'Connor, Tom Quinn, Julian Rivero, Frank M. Thomas
screenplay by Charles Kaufman, Mortimer Offner, based on the novel by Leslie Charteris, music by Roy Webb
The Saint, RKO's The Saint, The Saint (Louis Hayward)
review by Mike Haberfelner
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As New York City's overrun by criminals and the police seems to be
powerless against the legal system that almost grants crime kingpins to be
pardoned, Valcross (Frederick Burton), member of the Citizens Committee,
makes an eccentric suggestion to fight crime with crime and hire Robin
Hood-like gentleman hoodlum Simon Templar a.k.a, The Saint
(Louis Hayward) to take out all the figureheads of the crime scene. And
after following the Saint's trail halfway round the globe, Valcross
manages to persuade him, too. And the Saint is quick in bringing justice
to the town by shooting dead one of the kingpins, Irbell (Leter Dorr),
just when he was to shoot inspector Fernack (Jonathan Hale), the cop on
his case - and Fernack and the Saint become fast friends as a result. Next
in line's gambling bigshot Maury Yule (Anthony Warde), who actually
manages to lure Templar into a trap - but Templar turns the trap on him by
killing him with a concealed knife, getting away with the help of gangster
moll Fay (Kay Sutton), and even manages to save a kidnapping victim
(Shirley Coates) in the process. The next on the Saint's list is Hutch
(Sig Ruman), whose men capture Templar though and Hutch sends them over to
New Jersey to execute him - but he's saved in the nick of time by Fay, who
confesses her undying love to him - and Templar's pretty fond of her as
well. At her apartment, too, the Saint is able to kill Hutch in a
shoot-out ... which leaves only one man on Templar's list, the legendary Big
Fellow, the puppetmaster behind everything, but only one person knows
his identity - and fortunately that person's Fay, who has helped him build
up his criminal organisation but now has no qualms about bringing him
down. So she promises to point him out in a crowd the very next day ...
and the Big Fellow turns out to be - none other than Valcross, the very
man who got Templar to New York in the first place. And in a shoot-out
with Templar both he and Fay are killed, while escorted by inspector
Fernack the Saint leaves the country for more adventures elsewhere ... So
ok, one central plotpoint of this movie, by the way the first on-screen
appearance of Leslie Charteris literary character The
Saint, does not make sense, and that's why is Valcross
bringing in the titular character when he's on top of the very crime
pyramid The Saint's to topple? The other question is why is Fay swayed to
The Saint's point of view quite so effortlessly when she has helped build
the very crime empire he's taking down? So if you're looking for a
cleverly conceived and structured crime story, you better look somewhere
else - that said though, The Saint in New York is not at all a bad
film: So ok, it's a B-movie, and not only from today's point of view the
editing feels a little creaky at times, but Louis Hayward handles his role
with charm and the right daredevil attitude, the plot is fast paced and
contains enough chases and shoot-outs to keep one engaged, and the
dialogue is snappy enough to further the plot and entertain at the same
time. Sure, it's no masterpiece by any definition of the word, but quite
enjoyable genre fare still.
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