The Saint has become somewhat more sophisticated and cosmopolitan. There are fewer jokes. He still has a sense of humour but it’s more sophisticated as well. The Saint has become somewhat more sophisticated and cosmopolitan. There are fewer jokes. He still has a sense of humour but it’s more sophisticated as well. The adventures are on a much smaller scale. The fates of nations are no longer at stake. There are personal dramas in which the Saint becomes involved. The adventures are on a much smaller scale. The fates of nations are no longer at stake. These are often personal dramas in which the Saint becomes involved. They often, in fact usually, involve crimes but they’re everyday crimes like murder, blackmail and robbery rather than espionage and treason and potential mass murder.
The Saint’s moral stance hasn’t changed. He is still the sworn enemy of evil-doers (the ungodly as he calls them) but he still sees no reason why fighting crime can’t be profitable. After all if he can recover stolen money and restore it to its rightful owners how could anyone object to his taking a ten percent commission?
All of the stories in this collection are named after women. And from this point on most of the Saint’s adventures will be set in motion by women. The Saint has an extraordinarily large number of friends and acquaintances of the female persuasion. Patricia Holm, once his inseparable companion and the love of his life, is no longer a central character in the stories.
In Judith Simon Templar meets the sort of woman he likes most. She’s young and beautiful and she’s just about to commit a burglary. So what else can he do? He offers to commit the burglary himself. After all, it’s all in a good cause. Judith is simply stealing papers which should be hers. It’s a cute little story with a nice twist at the end.
Iris is an actress appearing in a production of Macbeth and she’s driving the director crazy. There’s not much the director, a pompous alcoholic has-been actor, can do since Iris’s husband is mobster Rick the Barber and he’s putting up the money for the production. Rick the Barber is at this very moment being blackmailed by Simon Templar, only Simon Templar knows nothing about it. But he certainly intends to find out. Not a bad story.
Lucia takes Simon to bandit country in Mexico. His arrival in a small coincides with the return of a man Amadeo who had left many years before. Amadeo claims to be a big wheel in the jewellery trade. The innkeeper Salvatore knows Amadeo well, and does not like him. When Amadeo boats of his wealth Salvatore boasts of his as well. Then Salvatore’s daughter Lucia is kidnapped.
The Saint has his own theories as to what Amadeo’s profession might really be, and also a fair idea what’s behind the kidnapping. As usual the twist that Charteris throws in at the end is effective and it’s appropriately Saintly. A fairly decent story.
Strangely enough absolutely everyone jumps to the conclusion that Mrs Verity shot herself although in fact the evidence clearly points to murder. The answer is to be found in the Quarterdeck Club somewhere. No-one at the club is anxious to talk but Simon Templar has a way of persuading people to do so. A solid if low-key story.
In Jeannine Simon is in New Orleans when he is reacquainted with Judith (from the previous story of that name) only now she calls herself Jeannine. She’s as beautiful and charming and captivating as ever but sadly her morals have not improved. Jeannine is again plotting larceny and again the Saint gets mixed up in her scheming. It’s all about pearls. Simon knows some extremely interesting things about pearls, and that knowledge will come in very handy. The twist at the end is typical Charteris and it’s very neatly done.
Teresa takes the Saint back to Mexico. Teresa Alvarez is looking for her husband. The suspicion is that he may have fallen into the hands of the notorious bandit El Rojo. She accepts that her husband is most likely dead but it wold be a comfort to her to know what actually happened to him. The Saint has his own reasons for wanting to meet El Rojo. They find the famous bandit and then a series of clever little plot twists kicks in. A very good story.
Luella begins with a chance encounter in a bar in Los Angeles. A young air force sergeant is set up by a blackmail gang. The bait is a young lady named Luella, of great physical charm but decidedly dubious character. For the Saint it’s too good an opportunity to miss - to put some blackmailers out of business, help a naïve but decent young man and have some fun along the way. He comes up with a neat scheme to fleece the blackmailers. A fairly serviceable tale although not as strong as most of the stories in this collection.
Emily is a very whimsical tale. Simon goes to the rescue of an old lady who has been sold a gold mine which sadly contains no gold whatsoever. Luckily Simon has recently acquired a Doodlebug and he’s pretty sure he can make use of it to right this particular wrong. An enjoyable story.
Dawn is the final story in the collection and to say it’s an oddity in the Charteris oeuvre wold be an understatement. The Saint is enjoying a peaceful time in a cabin in the mountains, fishing mostly, when a rather large man forces his way in. The man explains that he is Big Bill Holbrook but he isn’t real, he’s being dreamed by a bank teller named Andrew Faulks in Glendale California. There are men after Holbrook and it has something to do with the fabulous fire opal he shows Simon, and something to do with the girl named Dawn who has also turned up at the cabin. Of course Holbrook’s story is nonsense and Simon eventually decides that he knows what’s really going on. Or does he?
Right to the end Charteris teases us. Is it just a dream? Whose dream is it? Is it a crazy story that Holbrook has made up?
I’m not sure it entirely works but it’s an interesting experiment and Charteris manages to make it whimsical and slightly unsettling.
All of these stories take place in North America, but mostly in offbeat or remote or exotic North American locales. The tone is definitely quite different compared to the early 30s Saint stories with are the ones with which I was previously familiar. They’re much more low-key and they lack the manic energy of the earlier tales but they do have a charm of their own. And the new version of the Saint revealed in these stories is perhaps more human and more genuinely likeable, perhaps because his insane self-confidence (which is still in evidence) has been tempered a little by maturity. I wouldn’t say these later stories are better or worse than the earlier ones, they’re just very different. Highly recommended.
Judith, Lida, Teresa, Iris, Jeannine and Luella were all adapted for the TV series of The Saint. My thoughts on these adaptations can be found on Cult TV Lounge.
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