Le Saint à Palm Springs

After now seeing all five films, 'The Saint Strikes Back' was a decent film though had somewhat of a finding-its-feet feel, 'The Saint in London' while not perfect was an improvement, 'The Saint Takes Over' was the best of the series and 'The Saint's Double Trouble' the weakest.

'The Saint in Palm Springs' is bang in the middle when ranking all five films. Like all the films, it's not great, but like 'Takes Over' and 'London' it's good ('Strikes Back', as said, was decent, while 'Double Trouble' was disappointingly average). The pros do outweigh the cons, but 'The Saint in Palm Springs' does suffer from a lack of suspense ('Takes Over' is the darkest of the five, despite the high body count here, and adheres closest to the tougher edge when Louis Hayward was in the role).

As well as an ending that is far too confused and comes far too suddenly with little build up. The screen projection agreed is obvious at times.

On the other hand, the sets are atmospheric and the photography doesn't look hasty or low-budget. Scripting is smart and with the right balance of fun and mystery, while the music is jaunty but also atmospheric. The direction is suitably brisk, as well as a story, that although lacking in suspense, is paced in a lively way and diverting, never dull at least.

George Sanders himself, as said with my previous reviews of his Saint outings, is super-suave, sophisticated and wonderfully caddish, while also giving a charming and humorous edge and delivering some cutting lines with aplomb. Jonathan Hale is fine support, while Wendy Barrie gives one of her better performances of her three appearances in the Saint films. Paul Guilfoyle comes very close to stealing the film in an amusing performance, and Linda Hayes is charming.

In conclusion, good fun and bang in the middle of the five Saint film starring Sanders. 7/10 Bethany Cox

The sixth RKO Saint film is the last for star George Sanders before he moved over to the similar Falcon series. The plot this time involves rare stamps. So wake the kids. As a favor for Inspector Fernack, the Saint agrees to help watch over an old friend who's in possession of some rare postage stamps. Because "competent bodyguard" isn't among his many skills, the Saint fails to prevent the guy being killed. So he sets out to deliver the stamps to the dead guy's daughter in Palm Springs and hopefully catch the killer as well.

Sanders' final Saint film is a good one, filled with action and humor. There's a rear projection biking scene that's worth a chuckle and the climax of the film involves a fake eyebrow, of all things. Also making their final appearances in the series are Jonathan Hale as Inspector Fernak and Wendy Barrie as the Saint's love interest, her third role in as many films. Paul Guilfoyle returns as Pearly Gates and provides most of the movie's laughs. After this, RKO launched their own series The Falcon, also starring George Sanders. The Falcon is a pretty obvious ripoff of the Saint (minus the calling cards and whistling) made because RKO was tired of dealing with Saint creator Leslie Charteris. I have to admit I enjoy the Falcon movies more than the Saint ones, outside of the first couple.

Two cops attempt to arrest the Saint as he comes ashore from the SS Monrovia. He's wanted in connection with a murder case, they explain—Inspector Fernack sent them. The Saint nods agreeably…then adroitly handcuffs them to each other and runs off—straight to Fernack's office, where (as he suspected) his old friend Fernack just wanted his help.

George Sanders and Jonathan Hale appear once again as Simon Templar and Inspector Fernack in this fast moving and frequently amusing mystery. Fernack requests the Saint's assistance delivering some postage stamps to Palm Springs, three rare stamps worth $200,000. Sensing reluctance, Fernack offers encouragement: "Of course, it would be dangerous…."

Wendy Barrie returns for her third Saint movie, playing a third unique role. This time around she is Elna Johnson, intended recipient of the rare stamps—a family fortune converted into stamps for easier transport out of wartime Europe. Needless to say, a gang is also after the stamps, led by a charming female (Linda Hayes) who meets Templar on the train ride west and is tracking him long before he catches on to her.

Paul Guilfoyle also returns from the previous series entry as Clarence "Pearly" Gates. When last seen, Pearly was a reforming pickpocket assisting the Saint; out here in Palm Springs, his probation officer has signed him up as a house detective at a ritzy resort. (Sure it makes sense.)

The plot is nothing too surprising, but the veteran cast and a lively script add up to an enjoyable hour. Sanders, Barrie and Guilfoyle certainly look awfully familiar together.

A very solid if unspectacular production all the way around.

George Sanders has often been quoted as calling the Saint and Falcon films the "nadir" of his career. Looking at "The Saint's Double Trouble" it is easy to see why he felt that way (badly scripted, poor supporting cast, etc, etc) but his four other Saint entries, at least, are well up to scratch. If this one is a little slack in the chase and gun play departments, never mind. It is an old-fashioned "whodunnit" and Sanders and Paul Guilfoyle (as Pearly Gates, a series regular) seem to enjoy themselves in this tale of missing stamps (worth a fortune) and suspicious characters at a luxury Palm Springs hotel. The plot may bear absolutely no resemblance to Leslie Charteris's short story, but never mind; it is a pleasant little cocktail with which to waste an hour or so. By the way, you're guaranteed not to guess whodunnit, although the chief suspects are shown quite often. No one except Sanders would think of this amiable film as a career low-point; it's a pity he didn't make a few more like this as his career went on.

There isn't much to the story in this entry to George Sander's The Saint series for RKO. The sinister forces bumping off some one every fifteen minutes to steal three rare stamps are kept well informed by Sanders' teling everyone what is going on; beautiful women saunter by continually; and Paul Guilfoyle provides comic relief with a look of baffled despair and a variety of hats. Wendy Barrie is the woman at risk for the third time in the series.

In sum, it's a lousy movie. Why do I rate it above average? George Sanders of course, amiably ambling through the featherweight plot. His lines are nothing much, but he delivers them with such indifference that I can't help be charmed.

If you want to see a bad process shot, take a look at the shots in which Sanders and Guilfoyle are bicycling through the desert.