The Saint Meets The Tiger Ebook Library

The sign of The Saint First appearance Created by Portrayed by others Information Gender Male Occupation amateur detective occasional police agent Nationality British Simon Templar is a British known as The Saint. He featured in a long-running by published between 1928 and 1963. After that date, other authors collaborated with Charteris on books until 1983; two additional works produced without Charteris's participation were published in 1997. The character has also been portrayed in,,, comic books and three. Contents • • • • • • • • • • • • • • • Overview Simon Templar is a -like criminal known as The Saint — plausibly from his initials; but the exact reason for his nickname is not known (although we're told that he was given it at the age of nineteen).

Templar has aliases, often using the initials S.T. Such as 'Sebastian Tombs' or 'Sugarman Treacle'. Blessed with boyish humour, he makes humorous and off-putting remarks and leaves a ' at his 'crimes', a stick figure of a man with a halo. This is used as the logo of the books, the movies, and the 1960s TV series. He is described as 'buccaneer in the suits of, amused, cool, debonair, with hell-for-leather blue eyes and a saintly smile.' His origin remains a mystery; he is explicitly British, but in early books (e.g. ) there are references that suggest he had spent some time in the U.S.

Battling prohibition bad guys. Presumably his acquaintance with his sometime Bronx sidekick Hoppy Uniatz dates from this backstory period. In the books his income derives from the pockets of the 'ungodly' (as he terms those who live by a lesser moral code than his own), whom he is given to 'socking on the boko'.

There are references to a 'ten percent collection fee' to cover expenses when he extracts large sums from victims, the remainder being returned to the owners, given to charity, shared among Templar's colleagues, or some combination of those possibilities. Templar's targets include corrupt, warmongers, and other low life. 'He claims he's a Robin Hood', bleats one victim, 'but to me he's just a robber and a hood'. Robin Hood appears one inspiration for the character; Templar stories were often promoted as featuring 'The Robin Hood of modern crime', and this phrase to describe Templar appears in several stories.

A term used by Templar to describe his acquisitions is ' (a term also applied to the ). The Saint has a dark side, as he is willing to ruin the lives of the 'ungodly', and even kill them, if he feels more innocent lives can be saved. In the early books, Templar refers to this as murder, although he considers his actions justified and righteous, a view usually shared by partners and colleagues. Several adventures centre on his intention to kill (for example, 'Arizona' in has Templar planning to kill a scientist). During the 1920s and early 1930s, The Saint is fighting European arms dealers, drug runners, and white slavers while based in his London home. His battles with Rayt Marius mirror the 'four rounds with Carl Petersen' of.

During the first half of the 1940s, Charteris cast Templar as a willing operative of the American government, fighting Nazi interests in the U.S. Beginning with the 'Arizona' novella Templar is fighting his own war against Germany. Reveals that Templar is operating on behalf of a mysterious American government official known as Hamilton who appears again in the next WWII-era Saint book,, and Templar is shown continuing to act as a secret agent for Hamilton in the first post-war novel,. The later books move from confidence games, murder mysteries, and wartime and place Templar as a global adventurer. According to Saint historian, Charteris made the decision to remove Templar from his usual confidence-game trappings, not to mention his usual co-stars Holm, Uniatz, Orace and Teal, as they weren't appropriate for the post-war stories he was writing. Although The Saint functions as an ordinary detective in some stories, others depict ingenious plots to get even with and other rip-off artists, greedy bosses who exploit their workers, con men, etc.

The Saint has many partners, though none last throughout the series. For the first half until the late 1940s, the most recurrent is, his girlfriend, who was introduced in the first story, the 1928 novel in which she shows herself a capable adventurer. Holm appeared erratically throughout the series, sometimes disappearing for books at a time. Templar and Holm lived together in a time when common-law relationships were uncommon and, in some areas, illegal.

Simon Templar is a British fictional character known as The. The Saint Meets the Tiger by Leslie Charteris 3.71 avg rating — 221. Saint Mystery Library (2. RKO brought Leslie Charteris' thief-turned-sleuth The Saint back to the screen after a two-year break with The Saint Meets the Tiger, only to decide this 1943 production was so below even their worst B films that they handed U.S. Distribution over to Republic Pictures. Yet The Saint Meets the Tiger maintains historical.

They have an easy, non-binding relationship, as Templar is shown flirting with other women from time to time. However, his heart remains true to Holm in the early books, culminating in his considering marriage in the novella, only to have Holm say she had no interest in marrying. Holm disappeared in the late 1940s, and according to Barer's history of The Saint, Charteris refused to allow Templar a steady girlfriend, or Holm to return (although according to the Saintly Bible website, Charteris did write a film story that would have seen Templar encountering a son he had with Holm). Another recurring character, Inspector, could be found attempting to put The Saint behind bars, although in some books they work in partnership. In, Teal's American counterpart, Inspector John Henry Fernack, was introduced, and he would become, like Teal, an -like foil and pseudo-nemesis in a number of books, notably the American-based World War II novels of the 1940s. Many Saint novels were reprinted in new editions in the 1960s to capitalise on the popular, starring. The Saint had a band of compatriots, including Roger Conway, Norman Kent, Archie Sheridan, Richard 'Dicky' Tremayne (a name that appeared in the 1990s TV series, ), Peter Quentin, Monty Hayward, and his ex-military valet, Orace.

In later stories, the dim-witted and constantly soused but reliable thug Hoppy Uniatz was at Templar's side. Of The Saint's companions, only Norman Kent was killed during an adventure (he sacrifices himself to save Templar in the novel ); the other males are presumed to have settled down and married (two to former female criminals: Dicky Tremayne to 'Straight Audrey' Perowne and Peter Quentin to Kathleen 'The Mug' Allfield; Archie Sheridan is mentioned to have married in 'The Lawless Lady' in, presumably to Lilla McAndrew after the events of the story 'The Wonderful War' in ). Charteris gave Templar interests and quirks as the series went on. Early talents as an amateur poet and songwriter were displayed, often to taunt villains, though the novella established that poetry was also a hobby. That story revealed that Templar wrote an adventure novel featuring a hero not far removed from The Saint himself.

Templar also on occasion would break the in an almost sense, making references to being part of a story and mentioning in one early story how he cannot be killed so early on; the 1960s television series would also have Templar address viewers. Charteris breaks the fourth wall by making references to the 'chronicler' of The Saint's adventures and in one instance (the story 'The Sizzling Saboteur' in ) inserts his own name. Publishing history The origins of The Saint can be found in early works by Charteris, some of which predated the first Saint novel, 1928's Meet the Tiger, or were written after it but before Charteris committed to writing a Saint series. Burl Barer reveals that an obscure early work,, not only featured a heroic lead who shared 'Saintly' traits (down to driving the same brand of automobile) but also shared his adventures with Inspector Claud Eustace Teal—a character later a regular in Saint books. Barer writes that several early Saint stories were rewritten from non-Saint stories, including the novel, which appeared in magazine form featuring a different lead character. Charteris utilized three formats for delivering his stories.

Besides full-length novels, he wrote for the most part published in magazines and later in volumes of two or three stories. He also wrote featuring the character, again mostly for magazines and later compiled into omnibus editions. In later years these short stories carried a common theme, such as the women Templar meets or exotic places he visits. With the exception of Meet the Tiger, chapter titles of Templar novels usually contain a descriptive phrase describing the events of the chapter; for example, Chapter Four of is entitled 'How Simon Templar dozed in the Green Park and discovered a new use for toothpaste'. Although Charteris's novels and novellas had more conventional thriller plots than his confidence game short stories, both novels and stories are admired. As in the past, the appeal lies in the vitality of the character, a hero who can go into a brawl and come out with his hair combed and who, faced with death, lights a cigarette and taunts his enemy with the signature phrase '.' The period of the books begins in the 1920s and moves to the 1970s as the 50 books progress (the character being seemingly ageless).

In early books most activities are illegal, although directed at villains. In later books, this becomes less so. In books written during, The Saint was recruited by the government to help track spies and similar undercover work. Later he became a cold warrior fighting. The quality of writing also changes; early books have a freshness which becomes replaced by cynicism in later works. A few Saint stories crossed into and, 'The Man Who Liked Ants' and the early novel being examples.

When early Saint books were republished in the 1960s to the 1980s, it was not uncommon to see freshly written introductions by Charteris apologizing for the out-of-date tone; according to a Charteris 'apology' in a 1969 paperback of, he attempted to update some earlier stories when they were reprinted but gave up and let them sit as period pieces. The 1963 edition of the short story collection contains examples of abandoned revisions; in one story published in the 1930s ('The Star Producers'), references to actors of the 1930s were replaced for 1963 with names of current movie stars; another 1930s-era story, 'The Man Who Was Lucky', added references to atomic power. Charteris started retiring from writing books following 1963's. The next book to carry Charteris's name, 1964's, was written by, who had worked on the Saint comic strip, after which Charteris edited and revised the manuscript. Between 1964 and 1983, another 14 Saint books would be published, credited to Charteris but written by others. In his introduction to the first,, Charteris called these volumes a team effort in which he oversaw selection of stories, initially adaptations of scripts written the 1962–69 TV series, and with writing the adaptations (other authors took over from Lee).

Charteris and Lee collaborated on two Saint novels in the 1970s, (based on a story by Charteris for the Saint ) and. The 'team' writers were usually credited on the title page, if not the cover. One later volume,, was an experiment in returning The Saint to his period, prior to the (as opposed to recent Saint books set in the present day). The last Saint volume in the line of books starting with Meet the Tiger in 1928 was, published in 1983. According to the Saintly Bible website, every Saint book published between 1928 and 1983 saw the first edition issued by in the UK (a company that originally published only religious books) and (an of that specialized in mystery and detective fiction) in the United States.

For the first 20 years, the books were first published in Britain, with the U.S. Edition following up to a year later. By the late 1940s to early 1950s, this situation had been reversed. In one case— —a British edition did not appear until nearly two years after the American one. Books published over 30 years included translated volumes of Charteris originals as well as novelisations of radio scripts from the English-language radio series and comic strip adaptations. Many of these books credited to Charteris were written by others, including.

Charteris died in 1993. Two additional Saint novels appeared around the time of the starring: a (which had little connection to the Charteris stories) and, a more faithful work published by The Saint Club and originated by Charteris in 1936. Both books were written by Burl Barer, who in the early 1990s published a history of the character in books, radio, and television. Charteris wrote 14 novels between 1928 and 1971 (the last two co-written), 34 novellas, and 95 short stories featuring Simon Templar. Between 1963 and 1997, an additional seven novels and fourteen novellas were written by others. In 2014, all the Saint books from Enter the Saint to Salvage for the Saint (but not Meet the Tiger nor Burl Barer's Capture the Saint) were republished in both the UK and US. The Saint on radio Several radio drama series were produced in North America, Ireland, and Britain.

The earliest was for 's Radio in 1940 and starred. Both and produced Saint series during 1945, starring and. Many early shows were adaptations of published stories, although Charteris wrote several storylines for the series which were novelised as short stories and novellas. The longest-running radio incarnation was, who played the character in a series between 1947 and 1951 on three networks:, and. Like, the program had an opening whistle theme with footsteps.

Some sources say the whistling theme for The Saint was created by while others credit RKO composer. Price left in May 1951, replaced by radio series aired on Springbok Radio in between 1953 and 1957.

These were fresh adaptations of the original stories and starred Tom Meehan. Around 1965–66 the South African version of Lux Radio Theatre produced a single dramatization of The Saint. The English service of South Africa produced another series radio adventures for six months in 1970–1971. The next English-language incarnation was a series of three radio plays on in 1995 starring. For more about The Saint on American radio, see. The Saint in film and on TV Not long after creating The Saint, Charteris began a long association with as a screenwriter. He was successful in getting a major studio,, interested in a film based on one of his works.

The first, in 1938, based on the 1935, starred as Templar and as Inspector Henry Farnack, the American counterpart of Mr Teal. The film was a success and portrayed Templar in the two last.

Several of the films were original stories, sometimes based upon outlines by Charteris while others were based loosely on original novels or novellas. In 1953, British produced (known as 'The Saint's Girl Friday' in the US), for which Hayward returned to the role.

This was followed by an unsuccessful French production in 1960. As In the 1960s, who strongly resembled in the 1930s, revived the role in a long-running television series. According to the book Spy Television by Wesley Britton, the first actor offered the role was of and. The series ran from 1962 to 1969, and Moore remains the actor most closely identified with the character.

Since Moore, other actors played him in later series, notably. These were in the United States as part of a series of films entitled, while in the UK they were shown as a series on ITV. In 1991, as detailed by Burl Barer in his 1992 history of The Saint, plans were announced for a series of motion pictures. Ultimately, however, no such franchise appeared. Starring was made in 1997 but diverged far from the Charteris books, although it did revive Templar's use of aliases. Kilmer's Saint is unable to defeat a gangster in and is forced to flee; this would have been unthinkable in a Charteris tale. Whereas the original Saint resorted to aliases that had the initials S.T., Kilmer's character used saints, regardless of initials.

This Saint refrained from killing, and even the main villains live to stand trial, whereas Charteris's version had no qualms about taking another life. Kilmer's Saint is presented as a master of disguise, but Charteris's version hardly used the sophisticated ones shown in this film. Livro De São Cipriano Capa De Aço Para Baixar. The film mirrored aspects of Charteris's own life, notably his origins in the, though not in an as the film portrayed.

Sir Roger Moore features throughout in cameo as the BBC Newsreader heard in Simon Templar's Volvo. Since the Kilmer film, there have been several failed attempts at producing pilots for potential new Saint television series.

Figure 1 – The Saint Logo Next month will mark the eighty-seventh anniversary of the publication (British) of Leslie Charteris’s seminal novel Meet—The Tiger! (Published in 1929 in the US as The Saint Meets the Tiger). According to Wikipedia, it was an immediate commercial success (although it took until 1930 for Charteris to decide to make the character a series character and publish the second book, Enter The Saint, a collection of novellas). Who is The Saint, and why should SF/F types care about him? (I’ll get to the latter answer shortly.) Short answer: The Saint is Simon Templar, “the Robin Hood of modern crime, the ‘brighter buccaneer,’ etc.,” as described by his creator. We’ll get into more who and what shortly, after I tell you how I, personally, encountered Simon Templar and his cohorts and antagonists—the former numbering Patricia Holm, Hoppy Uniatz the one-time American gangster, Orace the butler and a small cast of men who come and go as the story requires; the latter comprising mostly Chief Inspector Claud Eustace Teal of Scotland Yard and Inspector John Henry Fernack of the NYPD; other antagonists, like Rayt Marius, also come and go as the story requires. The Saint’s adventures—at first taking place in Britain—range over numerous continents and continued until his creator’s death (and a little while after) in 1993.

Because I read over 1200 words a minute (in fiction; nonfiction takes much longer to read), in the early 1960s I worked my way through the Everett Public Library’s science fiction section (in those days, fantasy was never separated—both kinds of hardcover were marked by the well-known “rocketship in an atom” symbol, a common sticker for public libraries all over the US) in fairly short order. So then I started on Westerns and Mysteries, finishing the Western section much more quickly. (Back then it was unusual for libraries to stock paperbacks as circulating items, and there were fewer hardcover Westerns—fortunately, my father had a good collection.) In the Mystery section I read all the Father Brown ( G.K. Chesterton) books, all the Erle Stanley Gardners, the Raymond Chandlers, the Ellery Queens, Fredric Browns (a favourite, because he wrote science fiction!), Rex Stouts, etc., etc. And then (at about age 14) I stumbled upon one—can’t remember exactly which one—of the Saint books, and for whatever reason, I was hooked. In order to understand why I was hooked—and by extension, tens of thousands of other readers worldwide—it will be necessary to explain who Simon Templar was and what he did.

(And a bit too much information about my own reading habits, maybe.). Figure 2 – Leslie Charteris One of the reasons I liked Simon Templar is that in many ways I’m extremely old-school when it comes to fiction. (Maybe not as old-school as some people involved in the recent Hugo Award controversies, but still) I like stories about intelligent people, competent people, doing intelligent and/or exciting things. (And I don’t care whether those people are male/female/other—or even human!—or what their ethnic origin is.) I’m not a big fan of the books where the protagonist navel-gazes for three hundred pages, or whines and bleats about how sad life is. I want men, women or aliens with working brains—even especially overachieving brains and/or secret powers like ESP (which I no longer believe in, except as a fictional device), doing exciting things! I like “end of the world”stories, man (or woman) against the universe, and so on. I’ll even buy things I personally don’t believe in—like gods or demons, spirits or spooks—as dramatic devices, as long as they advance the plot!

Ost2pst Serial Keygen Webcammax there. Well, Charteris’s hero—and all his cohorts—used their brains in these stories! Maybe some of their aims weren’t exactly legal, but hey!

Plot device, okay? They tried, and dared, and did exciting things and I was 14 or so.

How could I resist? ( Figure 3 shows one of the Avon comic magazines. Figure 4 is a detail from that magazine.). Figure 3 – The Saint Detective Mag 1950 Now, I’m not claiming that all Charteris’s readers were 14, but there sure must have been a lot of us! Before he was through, he had written over ninety Saint-related books, novels, novellas, etc.; and The Saint had appeared in fifteen feature films, eleven radio series, three television series and a comic strip, written by Charteris himself (this information is from.

(Also, according to Wikipedia, in the late 1940s Charteris and sometime Sherlock Holmes scriptwriter Denis Green wrote a stage play entitled The Saint Misbehaves, although it was never produced.) He had been played in film, radio and TV by approximately 18 different actors, film actors ranging from George Sanders to Val Kilmer (forgettable); and on radio by such actors as Vincent Price and Barry Sullivan. I will speak more about these performances later. Figure 4 – The Saint in Avon comics The Saint’s origins (I’m speaking here of his fictional origins and life) are shrouded in mystery; he’s never told anyone where he came from or how he acquired the various skills he uses in daily life; although he smoked from 1929 to somewhere in the mid-1960s, he was in superb physical condition, spending up to an hour a day swimming, exercising with Indian Clubs, as they were then called, and so on. He has a rare sense of balance, and is as flexible as any acrobat; he is a masterful boxer and at some point learned some jiu-jitsu. He speaks several languages like a native, and is at home almost anywhere in the world; he can drive a car like a professional racer, fly a plane like a professional aviator, shoot a pistol or rifle—but prefers, and is extremely adroit with, the ivory-hilted throwing knives he carries strapped to his forearm or ankle (Anna and her sister Belle).

He’s also a master of the long and short “con”—thinks that turning the tables on a con artist is a lot of fun, and loves insulting “ The Ungodly,” his catch-phrase for underworld characters. He wears bespoke (made specially for him) clothes from Savile Row, and usually drives a red-and-cream-coloured car called a Hirondel (French for “swallow”—the bird, not the action), although there is no such animal in real life. In many of his books and stories, Templar turns the tables on The Ungodly, taking a percentage of the profits for himself, and donating the rest to charity. In short, Simon Templar (not his real name; he took the name Templar from the Knights Templar when he began his life of contra-crime) is the man’s man and the woman’s man. He’s the man every man wants to be and every woman wants to have. He’s six feet (or sometimes six feet and one inch) of lean, tanned muscle, with cool blue eyes and black, slicked-back hair (it appears from his early appearances that he is the perfect “sheik” type that Hollywood loved to portray in those days).

Figure 5 – The Saint Detective Magazine Dec, 1956 I note that none of these actors that I have seen or heard actually remind me of The Saint. Vincent Price may not have been as typecast as a movie villain when he started playing Templar on the radio, but now, listening to the shows (by the way, you can hear nearly all of them at ) I can’t see Simon Templar; all I can see is Vincent Price. Unfortunate, because one thing most of the movies have in common is that they downplay Templar as an action hero, the one thing he was created to be. Usually, he’s just sort of a detective.

Templar was called “the brighter buccaneer” because he was—at least when he began—a modern-day pirate, or Robin Hood type if you will, even though later, particularly during the Second World War, he worked for the authorities as a legitimate agent. (Also, although he—Templar—was a master of disguise, I think Val Kilmer played a particularly limp version in his movie.) Since I just reread about fifty Saint books and novellas, I think I’m qualified to say that someone needs to do it up right! Figure 6 – The Saint Mystery Magazine April 1964 That’s all very well; he has been a fun action hero, but what about The Saint and science fiction? In addition to the anti-war book, The Last Hero, in which Simon meets Rayt Marius, who is trying to obtain a new weapon created by a “mad” scientist—who doesn’t care who uses his weapon, the electron cloud, or for what purposes; he feels that science is above all that practical application stuff. The British government also wants control of this horrible weapon (another “weapon to end all wars”—how many of those have we seen over the years in real life?); Templar is determined to keep that weapon off the market and perhaps spare the world from another war—a war that Marius, who has giant holdings in war-related material, is determined to make happen! In addition to that book, there is also The Fantastic Saint, from Doubleday Science Fiction, an omnibus still available from Amazon (), edited by Martin Harry Greenberg and Charles G. Waugh, comprising six fantastical stories, like “The Man Who Liked Ants,” and “The Convenient Monster” (Nessie, maybe).

These are some of the things that made The Saint relevant to our genre, and perhaps lifted him up a bit, out of the morass of “gentleman detective” stories that the mystery genre used to be plagued with. The first few years of Charteris’s Saint stories were, perhaps, a bit too much of their time to be really interesting to today’s readers: so much has changed—both societally and scientifically—since the ‘20s and ‘30s; in some ways some of the attitudes expressed by the author would be anathema today, particularly his treatment of minorities.

But Charteris was, himself, a minority figure, born in Singapore of a Chinese physician father and an English mother I’m guessing he felt the sting of discrimination more than once, when his name was Leslie Charles Bowyer-Yin, and before he changed it legally to Charteris. (By the way, I pronounced his name wrongly most of my life; it’s pronounced “ charter-iss.”) He also shares, in some ways, in the prevailing masculine views on women—but he also wrote very strong female characters, like Patricia Holm, the Saint’s love and cohort throughout much of his career. And modern readers might find descriptions of his reckless night drives through rural England, where it might take him three hours(!) to drive a hundred miles. Yep, thirty miles per hour is really pushing it!

And running boards are funny, too (although I see some SUVs are now including running boards of a type) today, as are the mono- and bi-planes that Simon flew.