Simon Templar, the Saint, is brought to New York. His search for the identity of "the Big Fellow" takes him through many dangerous situations.Simon Templar, the Saint, is brought to New York. His search for the identity of "the Big Fellow" takes him through many dangerous situations.Simon Templar, the Saint, is brought to New York. His search for the identity of "the Big Fellow" takes him through many dangerous situations.
- Hutch Rellin
- (as Sig Rumann)
- Eddie, a Hood
- (uncredited)
- Bonacci
- (uncredited)
- Driver
- (uncredited)
- Policeman at the Zoo
- (uncredited)
- Viola Throckmorton
- (uncredited)
- Shooting Witness
- (uncredited)
- Jacob S. 'Jake'
- (uncredited)
- …
- Phil Farrell, Doorman at the Silver Club
- (uncredited)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaAt one point, Louis Hayward as the Saint would refer to himself as "a lone wolf." In 1954, Hayward would play in The Lone Wolf (1954), a TV series.
- GoofsTemplar speaks the cabby's phone number, then dials it. It's Columbus 5-1098; on a rotary dial phone, 0, 9 and 8 are all full or nearly full turns of the dial, but when he dials it, it's all small turns until the last digit.
- Quotes
Simon Templar, aka The Saint: [flags down cab which brakes hard. Leans in] I smell burning rubber.
Sebastian Lipke, Taxi Driver: Best brakes in town, Boss, where to?
Simon Templar, aka The Saint: [Gets in] 49th, near 8th.
[reads taxi license on back of seat]
Simon Templar, aka The Saint: Just forget about those lights, Sebastian.
Sebastian Lipke, Taxi Driver: [looks back] Say, I know you!
Simon Templar, aka The Saint: Why shouldn't you? My life's an open book.
Sebastian Lipke, Taxi Driver: [looks back again] Why, you're the Saint! I seen your picture in tonight's paper!
Simon Templar, aka The Saint: Terrible picture. Made me look like Tarzan.
- Alternate versionsPossibly for local censorship reasons some theatrical prints delete the brief scene revealing that the nun at the scene of the first of the Saint's killings was the Saint. Rather than a straight cut, it dissolves from the bystanders crowding round the body to the Saint's conversation after he has divested himself of the nun's habit.
- ConnectionsFollowed by The Saint Strikes Back (1939)
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
- TheLittleSongbird
- Nov 19, 2016
Details
Box office
- Budget
- $128,000 (estimated)
- Runtime1 hour 9 minutes
- Color
- Aspect ratio
- 1.37 : 1
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