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IMDbPro

The Saint in New York

  • 1938
  • Approved
  • 1 Std. 9 Min.
IMDb-BEWERTUNG
6,3/10
1103
IHRE BEWERTUNG
Louis Hayward and Kay Sutton in The Saint in New York (1938)
Hartgesottener DetektivSuspense-MysteryDramaKriminalitätMysteryRomanze

Füge eine Handlung in deiner Sprache hinzuSimon 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.

  • Regie
    • Ben Holmes
  • Drehbuch
    • Charles Kaufman
    • Mortimer Offner
    • Leslie Charteris
  • Hauptbesetzung
    • Louis Hayward
    • Kay Sutton
    • Sig Ruman
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    6,3/10
    1103
    IHRE BEWERTUNG
    • Regie
      • Ben Holmes
    • Drehbuch
      • Charles Kaufman
      • Mortimer Offner
      • Leslie Charteris
    • Hauptbesetzung
      • Louis Hayward
      • Kay Sutton
      • Sig Ruman
    • 33Benutzerrezensionen
    • 15Kritische Rezensionen
  • Siehe Produktionsinformationen bei IMDbPro
  • Siehe Produktionsinformationen bei IMDbPro
    • Auszeichnungen
      • 1 wins total

    Fotos3

    Poster ansehen
    Poster ansehen
    Poster ansehen

    Topbesetzung31

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    Louis Hayward
    Louis Hayward
    • Simon Templar, aka The Saint
    Kay Sutton
    Kay Sutton
    • Fay Edwards
    Sig Ruman
    Sig Ruman
    • Hutch Rellin
    • (as Sig Rumann)
    Jonathan Hale
    Jonathan Hale
    • Inspector Henry Fernack
    Jack Carson
    Jack Carson
    • Red Jenks
    Paul Guilfoyle
    Paul Guilfoyle
    • Hymie Fanro
    Frederick Burton
    Frederick Burton
    • William Valcross
    Ben Welden
    Ben Welden
    • Boots Papinoff
    Charles Halton
    Charles Halton
    • Vincent Nather
    Cliff Bragdon
    • Sebastian Lipke
    Jay Adler
    Jay Adler
    • Eddie - Hood
    • (Nicht genannt)
    George Anderson
    • Bonacci
    • (Nicht genannt)
    Leon Belasco
    Leon Belasco
    • Driver
    • (Nicht genannt)
    Stanley Blystone
    Stanley Blystone
    • Policeman at the Zoo
    • (Nicht genannt)
    Shirley Coates
    • Viola Throckmorton
    • (Nicht genannt)
    Harry Depp
    Harry Depp
    • Shooting Witness
    • (Nicht genannt)
    Lester Dorr
    Lester Dorr
    • Jacob S. 'Jake'
    • (Nicht genannt)
    • …
    Paul Fix
    Paul Fix
    • Phil Farrell - Doorman at the Silver Club
    • (Nicht genannt)
    • Regie
      • Ben Holmes
    • Drehbuch
      • Charles Kaufman
      • Mortimer Offner
      • Leslie Charteris
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen33

    6,31.1K
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    7chris_gaskin123

    The Saint comes to the Big Apple

    The Saint In New York is the first of the Saint movies and of the ones I've seen, one of the best.

    In this one, The Saint is sent to New York to investigate gangsters in the underworld there. There are plenty of shootings and killings and he gets involved in some quite dangerous situations. He is after one particular gangster known as The Big Fellow who is the leader of a gang. He also falls in love.

    The cast features Louis Haywood as the Saint, Kay Sutton and Jonathan Hale.

    The Saint In New York is worth watching if you get the chance. A treat.

    Rating: 3 stars out of 5.
    didi-5

    original Simon Templar

    The first film in RKO's series (continued, successfully, with George Sanders, and unsuccessfully, with Hugh Sinclair), this features tiny, white-suited Louis Hayward, as the dangerous psychotic Simon Templar, law-enforcer of a kind (mainly by shooting people), on a mission to find the 'big fellow', head of a crime gang. Hayward is excellent in this, having just the right amount of repartee and daring (without making the role comedic as Sanders did or boring as Sinclair did), as is his love interest, Kay Sutton, who seemed to do very little in films despite her good looks and strong voice. One gripe about the film would be that the print currently available on video is poor as regards picture and sound - I understand this entry in the series was lost for a while and it really does cry out for restoration. Still, this aside it has many compensations. Hayward went on to be the man in the iron mask, the son of Monte Cristo, and the snipey son Oliver in My Son My Son. Jonathan Hale, introduced here as the Saint's cop foil, went on to other Saint entries and eventually committed suicide.
    8ccamfield

    True in spirit

    I caught The Saint In New York late one night on TV. It is actually - violence and all - a very faithful translation of Charteris' novel of the same name. Simon Templar's roguish audacity is very well conveyed by Hayward and the film is a lot of fun.
    8silverscreen888

    Extraordinary in its Ethical Dimension; a Fast-Paced Noir Mission

    This by my lights is a splendid and very good story about Leslie Charteris's enigmatic character, Simon Templar, "the Saint"; it was the first of a series of films which starred several actors inn the role. Louis Hayward is fascinating inn the part, occasionally a bit stodgy but intelligent, and compelling. The film was directed by Ben Holmes, and also stars Kay Sutton as an enigmatic bad girl, Sig Ruman, Jonathan Hale, Jack Carson and many others in small but effective parts. The storyline is what set\s this ethical masterpiece apart. Templar is tracked down in foreign parts by an honest man representing a group in New York who want to bring down the mysterious crime boss who is poisoning the city with his influence. Templar, for his own reasons--the challenge, the chance to accomplish something worthwhile--agrees to risk his life; not for altruism but for his own code of values, his own desire to use his talents to the full. He starts pushing, commits some questionable break-ins and more,, all the time making himself more dangerous and getting closer to finding out who the big fella" is. I will not reveal the climax or the ending, except to say Templar has fallen in love with Kay--but she can never be his after what happens. Roy Webb wrote the music; the production values of this B/W gem are subtle and a little above average. But what drives it is the script, written from Charteris's novel,; it is the best of an interesting series because it is fast-paced, original, clever in dialogue and clear in its contexted ethical purposiveness; the group who hired him and the viewers finally come to know that they picked the right man, whatever doubts they may originally have had about the famous and notorious Simon Templar. Sutton is very good; Carson and several others are very competent also. Highly recommended.
    bob the moo

    A dark and enjoyable start to the Saint films with a really good presence in Hayward

    With crime rife in New York due to gangs and a small group of men in particular, Inspector Fernack makes the decision to bring in Simon Templar aka "The Saint" to help. The Saint is known as someone able to bring down criminal organisations but has gained notoriety due to the criminal methods he uses to do so. Dispatching one of the men with a clinical kill very early on, Templar quickly uncovers the existence of a character known as the "Big Fellow" – clearly a top man behind the gangs. Moving steadily into more and more danger he tries to reach and remove the Big Fellow to cut the head off the snake.

    I'm not sure why this film was apparently banned in Sweden on its release but I would hazard a guess that it had something to do with the marvellous anti-hero qualities that Templar is given in this film. The plot could have been straight out of any crime b-movie as it essentially involves bringing "justice" to New York by taking down a major crime syndicate; however in many other films from the 1930's the hero would have been a cop trying to get a conviction and, if he killed anyone it would have been by necessity rather than choice. However with this film we have a character who kills by choice and is as much a killer as he is a bringer of justice. This dark edge makes the film more interesting than the standard plot suggests it should be and I was quite taken in by it even if the quest for the "Big Fellow" wasn't really delivered with any tension or mystery (which was a bit of a shame, although it did enough to keep me guessing and watching).

    The real feather in the cap is Louis Hayward who plays it with the perfect mix of the suave and the psychotic. He is convincing as a bit of a smooth character but, more importantly, he convinced me as a cold-blooded killer and I enjoyed the dark feel he brought to the film. Outside of his though the performances are either just OK or wooden but nothing better; they more or less do the job but I could help feel that Hayward deserved more than the very basic caricatures of cops and criminals.

    Overall though this is a tough and enjoyable b-movie that features an enjoyably dark anti-hero. Later films in the series (well, the next one in fact) would quickly lose touch with this dark, cruel character and tone it down to be nonexistent but here it is in full effect and it makes a standard (if engaging) plot much better than it deserved to be.

    Mehr wie diese

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    Handlung

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    • Wissenswertes
      The kidnapped child is Viola Throckmorton. In the novel, her name is Viola Inselheim, daughter of a prominent Jewish businessman. This is one of several alterations of ethnicity in the film adaptation. "Dutch", a gangster, becomes "Hutch" in the film. This was a possible reference to New York mobster Dutch Schultz - born Arthur Simon Flegenheimer - who was killed in 1935.
    • Patzer
      Templar speaks the cabby's phone number, then dials it. It's Columbus 5-1098; on a rotary dial phone, 0, 9, and 8 are full or nearly full turns of the dial, but when he dials the phone, it's all small turns until the last digit.
    • Zitate

      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.

    • Alternative Versionen
      Possibly 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.
    • Verbindungen
      Followed by The Saint Strikes Back (1939)

    Top-Auswahl

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    Details

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    • Erscheinungsdatum
      • 3. Juni 1938 (Vereinigte Staaten)
    • Herkunftsland
      • Vereinigte Staaten
    • Sprache
      • Englisch
    • Auch bekannt als
      • Helgonet i New York
    • Drehorte
      • RKO Studios - 780 N. Gower Street, Hollywood, Los Angeles, Kalifornien, USA(Studio)
    • Produktionsfirma
      • RKO Radio Pictures
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    Box Office

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    • Budget
      • 128.000 $ (geschätzt)
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

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    • Laufzeit
      • 1 Std. 9 Min.(69 min)
    • Farbe
      • Black and White
    • Seitenverhältnis
      • 1.37 : 1

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