by Frank Calvillo
The most suave character to ever come out of 1960s television comes to DVD with the Shout Factory season one and two release of The Saint.
Simon Templar (a pre-James Bond Roger Moore), nicknamed “the saint,” is a cool, debonair international playboy whose reputation precedes him far and wide. Everyone, including local D.A.s, aristocrats, columnists, and even hotel maids know of this 1960s Robin Hood and the many exploits and adventures he finds himself in. Each episode of The Saint sees Simon unwillingly pulled into a plot filled with puzzling intrigue and gorgeous women as he manages to always remain one step ahead of both the authorities and the criminals, while never easing up on his trademark charm.
The Saint proved somewhat revolutionary for its time by refusing to let itself be categorized as any one genre like many of its contemporaries. The show works as both a spy series as well a mystery anthology; at times managing to be both at once through storylines which always managed to draw viewers in, regardless of the content. Its impossible to not be intrigued by the cat-and-mouse-like tension of “The Charitable Countess,” the whodunnit element of “The Arrow of God,” or the Agatha Christie charm of the series’ pilot episode, “The Talented Husband.” With a wink of comedy sprinkled throughout for good measure, the series dared to blend the genres considerably for its day, and as a result enjoyed a seven year run as one of the most popular shows on television.
As much of a standard budget as The Saint had, the production values are pretty top notch. Everything from the music, to the sets, to the cars and the clothes were in keeping with the current trends of the day. While this might lead people to assume that The Saint was a costly show, especially with episodes set (but not filmed) in such varied locales as London, New York, Rome, and the Bahamas, the producers usually managed to stay within budget while great recreations were enough to substitute London sets for exotic backdrops.
Suffice to say that the role of Simon isn’t the most depth-filled one ever written for television, with cockiness being the main emotion required, which Moore happily provides. Yet the actor manages to embody the character’s confidence and self-assured manner without ever coming off as arrogant. Yet the wave of charisma can only be ridden for so long, as evidenced by season two, when Moore’s performance seems to become a never ending audition for his future James Bond role.
It’s hard to deny the series’ camp factor, another staple of TV shows of the era. The music can be dramatic at times when nothing dramatic is happening and OVERdramatic at times of shocking revelation. Early intros featuring Simon breaking the fourth wall, and hinting to the audience of the story about to play out by, bordered on parody and were thankfully done away with in later episodes. Yet the series’ campiest moment, Simon’s show-stopping identification as “the saint” by a supporting player, followed by elaborate theme music and a cartoon halo around Moore’s head, is also the show’s most iconic.
Moore may never escape his turn at James Bond, but for many, nothing can ever top his time as The Saint or the unending fun it gave audiences who reveled in ’60s television.
The Package
Commentary by Moore and the show’s producers on two episodes is the lone bonus feature accompanying the release.
The Lowdown
A product of it’s time, The Saint may be as cheesy as all get out, but manages enough genuine entertainment to make this release worthwhile.
