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  • bkoganbing27 December 2012
    When you deposit a body on Simon Templar's doorstep what else can you expect but that the Saint will get involved. But on which side of the law?

    In an opening that was taken from The Maltese Falcon when Captain Jacoby arrives on Sam Spade's door dying and with the falcon, Simon TEmplar has a similar experience and before long is involved in exposing a smuggling racket. He's got competition though, another master criminal called the Tiger, identity unknown, is also cutting himself in on the plans. We're not sure who's with who except that Scotland Yard has an undercover man as well.

    This is the second of two films that Hugh Sinclair starred in as Simon Templar over in Great Britain. This one's not as good as the first though Sinclair makes one breezy Saint. The story line is kind of muddled though that could be bad editing.

    For fans of the series only.
  • Spondonman17 October 2005
    Altogether not too bad a Saint entry, the big problems being it was low budget and the annoying decomposition of the film when the '50's TV dupe was made. Unfortunately this can give you the feeling that by mistake you're watching Dick Barton, another (ultra) cheapo British sleuth series I like. I take it the original is lost? To make up for it they did their British best with some atmospheric sets, nice Templar repartee and a competent story.

    I haven't seen this film for over 20 years now or read Meet the Tiger for over 30 but it seemed familiar ie faithful to Charteris's first Saint story written in 1929. I can't remember Inspector Teal in it however but all of the stalwart British cast work well together in an effective potboiler. The incidence of a man murdered on the Saint's doorstep leads him and valet (Mr Memory from the 39 Steps) - and Teal - to a nest of savage gold smugglers in a quaint English seaside town. There's a pretty frank love interest and many twists and turns and multiple plot lines going on to keep you guessing how it will all turn out, although if you know your Saint you know the ultimate outcome with the opening titles. Hugh Sinclair was not my idea of Simon Templar - he was chunkily adequate - but at this distance I wish he'd gone on to make a dozen or so more I'd yet to see!

    So, imho well worth watching for fans and completists alike, especially if you can get over the bad condition of the print.
  • The Saint Meets the Tiger" was the first of the Saint books, but appeared rather late in the series of movies. The Saint is following the trail of a million pounds sterling of gold stolen from a Bristol bank by a gang headed by "the Tiger", a criminal mastermind. Hugh Sinclair, who doesn't much look the part initially, grows on you as the Saint with his witty and confident performance. His sidekick, Horace, has been transformed from a rough retired seaman to a dapper butler. The story isn't, of course, exactly the plot of the book, but it is close enough to give you fond reminiscences of the book. The cast is very similar in most respects to the main characters in the book. One of the main differences is that the identity of the Tiger is revealed quite early in the movie, and that revelation is virtually the last event in the book.

    Some of the action scenes are a bit simplistic, to the point of virtually being bungled. Yet the charm of the dialog and the heroes overcomes those deficiencies. If you like these classic old mysteries, you can do a lot worse than "The Saint Meets the Tiger".
  • When a man is killed on his doorstep, Simon Templar (Hugh Sinclair) tries to find out the reason in "The Saint Meets the Tiger," a 1943 film also starring Gordon McLeod, Jean Gillie and Wylie Watson. In this episode, The Saint has a butler (Wylie Watson) who regrets not taking a job in Chicago so he could work with mobsters; a death on the doorstep is what he's been waiting for. The man utters a few words before he dies, which lead Simon and his butler to a small town. There they meet a young woman, Pat (Gille), who becomes part of the "team" trying to uncover the identity of "The Tiger" and reveal a scam involving gold and an old mine.

    The scenes on board ship were good, with the butler and Pat working together knocking people out and not realizing Simon was on board, too, and Simon not knowing they were on board. The two would run across a body and accuse the other of knocking him out. Inspector Teal shows up posing as a professor.

    This is pleasant enough, though Sanders brought a certain panache to the role of The Saint that is missed here. And why, when the series was imported to Britain, wasn't the Saint's whistle brought along with him?
  • jetan27 June 2000
    Ultra lightweight movie almost floats away. Jean Gillie is fine as Pat Holm (borrowed from the very early Saint novels), but Hugh Sinclair suffers compared to the more magnetic George Sanders and lacks the vocal charm of Vincent Price's radio Saint. One of the appealing things about the Simon Templar character was the suspicion that he was only on the side of the good guys for as long as it would prove profitable. None of this comes through in this Republic effort, though the production values are reasonably high.
  • Saint Meets the Tiger, The (1941)

    ** (out of 4)

    Eighth and final film of the original series switched from RKO over to Republic. This time out The Saint (Hugh Sinclair) gets involved with a gang of gold thieves who will stop at nothing to keep their riches. This entry is certainly better made than the previous film but in the end it still doesn't work too well. Once again, we've got a pretty interesting story to follow but sadly there's really no excitement and never any sense of real danger going on. This film also has a lot more comic relief than previous entries but, again, none of it really comes off too well. I think Sinclair is a lot better here than he was in the previous film as he manages to make the best scenes in the movie. The supporting cast are all pretty forgettable, which is another downside to this series as they never really had any good character actors working in them. Having now seen all of the films in the series I must say that overall this was the least interesting of them all. I think Holmes, Chan, Boston Blackie, The Falcon and the Crime Doctor all were better series and this one here, to me, ranks at the bottom. I know this series has a strong following but it just didn't cut it for me.
  • Leslie Charteris was apparently unhappy with the RKO films based on his Simon Templar character that were made in the late 30s and early 40s because they bore little similarity to his stories--just the titles and title character's name were often retained. I read that Charteris refused to allow further versions of his stories unless major changes were made. As a result, RKO did what you'd expect from a studio--changed the character's name and continued the series under a new name ("The Falcon"). However, they and Republic Pictures did not want to drop the idea of the Saint altogether, so they made a couple films in Britain with an entirely new cast. Part of this was, of course, to make Charteris happy but this was also done because a British law required that a certain percentage of films shown in the country must be domestically produced--hence many American companies, such as MGM, Warner and RKO bought or created British film companies. Most of these British productions were made on a shoestring budget and the parent companies didn't particularly care too much about the quality of the films, as they were never intended to be shown anywhere outside the UK--and they were only making them to get around British law.

    Now some of these British-made films very good and many of them were downright dull and boring--about how I would characterize THE SAINT MEETS THE TIGER--dull and boring. I know that this film has a reasonably high rating on IMDb, but for the life of me it was a major struggle for me to watch this insipid film. While the American films were not faithful to Charteris' vision, they were indeed fun. This more "by the book" version forgot to include the fun. Sure, they weren't "authentic", but for my money I'd much rather watch George Sanders as the Saint than dull old Hugh Sinclair--who, unfortunately, has the charisma of a mop.

    FYI--While I prefer the Americanized version of the Saint, the same cannot be said of James Bond. Just like the Charteris novels, most James Bond films have almost no similarity to the original Ian Fleming novels--just the titles and character name. However, I would LOVE to one day see a series based on the books, as they were far superior to the impossibly perfect Bond we've seen in the films.
  • The action starts quickly: Simon Templar receives a phone call from a nervous stranger who mentions a million pounds. The doorbell rings. Templar opens the door and a man falls into his arms. The dying man hangs on just long enough to say something about "the Tiger" and the city of Baycombe….

    The pace never slows down much from there, as the Saint takes a cottage in Baycombe and digs into a mystery involving a shipment of stolen gold bars, a mysterious mastermind known as the Tiger, and a group of ordinary-looking Baycombe residents mixed up in it all.

    A game cast maintains a lively pace and a light tone in this enjoyable adventure. Wylie Watson is Horace, the Saint's new butler, a mystery lover looking for some excitement in a job. Jean Gillie is Pat Holm, the girl on the case, also eager for adventure and sporting a hairdo that's always falling across her face so she has to keep shaking it out of her eyes. Horace and Pat team up, thinking they'll catch the crooks on their own while the Saint is off working with…

    Gordon McLeod, returning as Inspector Teal, also in Baycombe on the missing gold case (and trying unsuccessfully to work undercover as a vacationing professor). As usual, Teal is torn between arresting the Saint and asking for his help.

    Hugh Sinclair is more than passable in his second and final go-around as Simon Templar. Sinclair's Saint is breezy, lanky and a fast talker. And confident—like when he's working a roomful of suspects and a policeman tells him, "I'll have to ask you to come along with me, Mr. Templar," and he just says, "Oh, I think not," and goes right on talking….

    Overall, there's not a whole lot to it but it's certainly pleasant enough.

    Note: I always like watching movie thieves handle stolen gold bricks. Movie gold bars are really heavy!
  • The eighth and final Saint film from RKO. Well, technically it was released here by Republic but it was produced by RKO two years earlier and sat on the shelf while the studio worked out its legal issues with Saint creator Leslie Charteris. It's also the worst movie of the series, although still perfectly watchable. The plot has the Saint up against a villain called the Tiger. That's pretty much all you need to know to realize this isn't going to be much more than a generic programmer. Returning as the Saint is charmless Hugh Sinclair. His comic relief sidekick this time is valet Horace, played by Wylie Watson. He's an improvement over the last sidekick but not by much. Pretty Jean Gillie is the would-be love interest Pat Holmes. Apparently this character was a bigger deal in the Saint books but is just now making an appearance in this series. Gillie does a fine job and arguably has the most personality of anyone in the cast. But her banter and romance with the dull Sinclair is never very believable or interesting. Everything is very 1940s British, staid and mannered and leisurely paced. The story isn't particularly strong but they shove enough humor and action in to keep it your interest.
  • michaeljhuman5 April 2014
    Jean Gillie (sp?) makes this movie. She's too cute for words with her gung ho attitude. She's not really believable IMO. She's just too calm in the face of danger given her background, but it's fiction after all, why not have a really strong female character to match up with the Saint.

    A lot of the supporting cast is pretty dull

    George Sanders is better as the Saint IMO. Hugh does OK - he's charming and competent enough

    The plot is weak like most Saint movies. I don't care really as long as the dialog entertains, and it does.

    I admit to having a real love for the early Saint movies for their totally relaxing experience - the violence is comic when there is violence, and you always just assume the Saint will manage to come out alive. Even though the violence is comic, the body count is high in this movie. Heck, I can't even remember how many people get killed (or one assumes their wounds are fatal.)

    I would say, if you liked the Sanders Saint movie, this one might appeal to you. If you like comic-mysteries from this era and don't mind weak plots you will like this. I think most people just have to like Jean Gillie here, what's to not like?
  • DKosty12322 December 2012
    Warning: Spoilers
    This movie is fast on action as the Saint finds out about stolen gold from a man murdered on his door step. It has low budget RKO written all over it during this wartime release. Because of this, there was no follow up to what could have enriched this film series.

    That is the addition of Jean Gillie as a love interest for the Saint. This is her only time as Pat Holme who is a character in the novels. It actually looks at times that there are some real sparks between her Hugh Sinclair who is taking his second turn as the Saint here.

    This followup to The Saint Takes a Vacation is actually a pretty much standard detective film other than that. Because of a dispute between the creator of the Saint, Leslie Charteris and RKO, this movie completed filming in June, 1941 and was not released until 1943. It is also RKO's last actual Saint Production as RKO's THe Saint Returns was actually produced by Britains Hammer Productions.

    Sadly Jean Gillie would die a few years later on pneumonia at age 33.
  • Warning: Spoilers
    "The Saint Meets The Tiger" features competent British acting circa 1940's but is just not up to the high expectations you might have after seeing the George Sanders "Saint" series.

    There is nothing really wrong with Hugh Sinclair's acting but it seems he would be more suited for one of those tough British wartime roles as a heroic commander or something like that. He is more in the strong military or policeman mold rather than the suave Saint type as personified by the smooth, charismatic Sanders. Jean Gillie is cute and youthfully energetic as the female lead and does a fine job of perking up this movie.

    The overall story is outstanding as the Saint is on the trail of a crime ring and coyly infiltrates the inner workings of a small coastal town to look for stolen gold. I don't regard this movie as slow, but you could consider it methodical and geared for mystery/crime fans, and competently directed and plotted to showcase the well-conceived story.

    If you are expecting an example of beautiful 1940's black-and-white cinematography you won't find it here. The movie seems more "grey-and-white", at least the print of it I saw on TV. A shame.

    Die-hard Saint fans should be satisfied as the movie seems to make a great effort to remain true to its book-series roots.
  • Warning: Spoilers
    . . . are a shilling a six-pack, THE SAINT MEETS THE TIGER reveals. "Great" Britain is so old that pretty much every other house is open for the paying public's tours, on the theory that someone important MUST have once slept there. Britain has more museum curators than garbage men or plumbers, which is why half their trash ends up as exhibits on museum shelves, and their "loos" only flush half their . . . well, you get the idea. All of this helps explain WHY "Simon Templar" ducks toward the end of this flick, thus facilitating the assassination of Baycombe Museum Curator "Meridew" by thrown dagger. Since the murder weapon is Simon's to begin with, what better way to insure that it gets a good cleaning than by letting it get into the protective custody of Scotland Yard, a public institution duty bound to safeguard, thoroughly sterilize, sharpen, and return it in a timely manner? Because England always manages to stay the same, watch THE SAINT MEETS THE TIGER to pick up further tips on how to get the government to clean your dirty laundry on your next visit to Ye Olde Country.
  • THE SAINT MEETS THE TIGER is the second film RKO made in Britain with a British cast with Hugh Sinclair in the title-role. The plot is a familiar one: the Saint (Hugh Sinclair) travels down to Cornwall to uncover a smuggling plot involving in which one million pounds of gold will leave the country. What makes this thriller worth watching, however, is its incidental pleasures: although much of it is shot in the studio, with quite obviously phony backgrounds, there are occasional sequences shot on location in Cornwall, where we get an authentic impression of what British seaside life was like during the middle of World War II. There are some notable performances from Wylie Watson as Horace, the Saint's faithful butler with a penchant for listening to gangster thrillers on the radio. When he is drawn into the action he takes every opportunity to assume the tough-guy role, pointing his loaded pistol at the villains. The eponymous Tiger/ Tidemarsh (Clifford Evans) comes across as a very clever mastermind - on the one hand he is more than willing to look after Pat Holm (Jean Gillie) and ensure that she comes to no harm; on the other hand he shows his true nature while trying to deal with his gang. The members of said gang are cleverly delineated, ranging from crooked financier Lionel Bentley (Dennis Arundell), whose facial expressions seldom change, even when he is holding the Saint at gunpoint; to Bittle (Charles Victor), a tough-guy with an accent combining South African clipped vowels and a Chicago twang. Needless to say they are outwitted at the end, leaving the Saint to walk off into the sunset with Pat on his arm, but one has to admire their ambition.
  • This entry begins with an intriguing opening--a man is found dead on Simon's doorstep and immediately Simon calls an inspector who, as usual, suspects Simon is holding out and knows more than he cares to reveal about the murder of a well-known bookie. Inspector Teal also has a confrontational moment with Simon's innocent butler.

    "But I don't know anything," says Simon's butler.

    "If you say that again, I'll arrest you on suspicion." Simon refers to his butler as a man who "sees the world through crime-colored glasses." The attempts at humor are as dull as the script.

    Unfortunately, HUGH SINCLAIR as "The Saint", has none of the charisma of either a George Sanders or a Tom Conway, which is a huge drawback and JEAN GILLIE is so-so as the romantic interest. Her instant dislike of Simon is a bit overdone. "I didn't recognize you without your halo," she tells him by way of apology.

    Nothing much happens that hasn't happened in a dozen other "Saint" movies as Simon attempts to find stolen gold and expose a crime boss called The Tiger. "Crooks work in the most select circles these days," he says, on the trail of gold thieves, while he moves through upper crust society.

    Once again, Inspector Teal comes close to arresting Simon for murder in a cat-and-mouse game. All the other familiar ingredients are here too, with Simon making escapes from the bad guys in incredible fashion. But I was already weary of the plot by the time it got to the smuggler's cave of gold. The revelation of The Tiger is only a modest surprise.

    Summing up: Moves quickly, but only moderately satisfying for "Saint" fans.
  • Prismark1028 September 2014
    George Sanders added the word debonair to Simon Templar and when he left the series and got replaced with Hugh Sinclair and the films got shot in Britain with a lower budget, the decline in script and quality is obvious.

    Simon Templar finds a dead man on his doorstep and finds himself mired in murder, smuggling and a South American gold mine.

    The film is all rather silly with a runaround mess set on board a ship, although the Sander's films were shot in the USA there was some love on display, there is little love to show here and this was Sinclair's last appearance as the Saint and frankly he never convinced me in the role.
  • Warning: Spoilers
    The overwhelming reason why anyone would be anxious to catch "The Saint Meets the Tiger" is the bright, charismatic, lively and super lovely Jean Gillie. Here delightfully animated Gillie not only has a lead role that is right up her alley but a photographer in Australian-born Robert Krasker who really knew how to present her super-attractively. The rest of the players – including the rather dull Hugh Sinclair as "The Saint" – in this otherwise rather routine if reasonably pacey entry, don't make anything like the same impression – aside from Charles Victor who registers strongly in a very small role. The direction by the always competent Paul L. Stein would certainly win no awards here. As said, it's competent but routine, serviceable but unexciting. I'd normally give a movie like this one, a seven, but Miss Gillie turns into a top-drawer eight! Available (coupled with "The Saint's Vacation") on an excellent Warner Archive DVD.