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
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