Before he ever uttered the words "Bond, James Bond" on the big screen, Roger Moore was already driving a white Volvo P1800 and outwitting international criminals. He was Simon Templar. Most people today remember the 1960s as the era of Star Trek or The Avengers, but The Saint TV show was a massive, global phenomenon that essentially paved the way for the modern action hero. It ran from 1962 to 1969, spanning 118 episodes, and it’s arguably the reason Moore became a household name.
Think about the character. Simon Templar isn't a spy. Not really. He’s a "buccaneer," a Robin Hood figure who lives a life of luxury while stealing from those who deserve to lose their shirts. He’s a gentleman. He’s a fighter. Honestly, he’s kind of a jerk to the bad guys, but in a way that makes you want to grab a drink with him.
The show didn't just happen by accident. Leslie Charteris, the author who created the character in the late 1920s, was notoriously protective of his creation. He’d seen earlier film adaptations and usually hated them. But when Lew Grade’s ITC Entertainment got hold of the rights and cast a young, tan, and incredibly charismatic Roger Moore, something clicked. The show became one of the first British programs to truly conquer the American market, which was a huge deal at the time.
Why The Saint TV show worked when others failed
Success in the 60s was about style. If you didn't have it, you were dead in the water. The Saint TV show had it in spades.
The opening was iconic. You remember it, right? Templar would be doing something—talking to the camera, usually—and then someone would mention "The Saint." A halo would appear above Moore’s head, he’d look up at it with that signature "who, me?" expression, and the theme song by Edwin Astley would kick in. It was meta before meta was a thing. Breaking the fourth wall became a staple of the early black-and-white episodes. It gave the audience a "wink" that said, Yeah, this is all a bit ridiculous, but isn't it fun?
Moore’s performance was the glue. He played Templar with a lightness that contrasted with the grittier spies of the era. He wasn't miserable like George Smiley or cold like the literary Bond. He enjoyed his life. He liked the clothes, the cars, and the beautiful women. But he also had a moral compass that never wavered.
The show transitioned from black and white to color in 1966. This was a turning point. The early episodes were noirish, moody, and often focused on smaller, localized crimes. Once the show went to color, the budget seemed to explode. Templar started jet-setting to exotic locations—or at least, to the Elstree Studios versions of them. The stakes got higher. The plots got crazier. And yet, the core of the show remained the same: Templar vs. the greedy.
The Volvo P1800: A happy accident
Let’s talk about the car. You can’t discuss The Saint TV show without mentioning the Volvo P1800.
Interestingly, Volvo wasn't the first choice. The production team actually wanted a Jaguar E-Type. Jaguar, in what might be one of the worst marketing decisions in history, turned them down because they didn't think the show would be a success and didn't want to provide a car for free. Volvo, on the other hand, jumped at the chance. They sent a P1800 to the set, and it became an instant legend.
The car fit Templar perfectly. It was sleek, slightly European, and stood out from the Rovers and Triumphs everyone else was driving. It wasn't just a prop; it was a character. Sales for the P1800 skyrocketed, and even today, if you see one on the street, your brain immediately goes to Simon Templar.
Behind the scenes: The friction with Leslie Charteris
It wasn't all sunshine and halos behind the camera. Leslie Charteris was a frequent critic of the scripts. He was a stickler for the "Saintly" lore he had built over decades in his novels and short stories.
Charteris often felt the TV writers were making Templar too much of a "do-gooder." In the original books, Templar was much darker. He killed people without much remorse. He was a criminal himself, albeit one with a code. The TV version softened those edges significantly to appease networks and advertisers. Moore’s Templar rarely used a gun, preferring to use his wits or his fists.
This tension actually helped the show. The push and pull between the gritty source material and the breezy TV adaptation created a unique tone. It was a thriller that didn't leave you feeling depressed. You knew the Saint would win. You knew the girl would be safe. And you knew he’d probably make a pun at the end of it.
The supporting cast and the "Saint Girls"
While Moore was the star, the show relied heavily on a rotating cast of character actors and rising stars.
- Ivor Dean as Inspector Claude Eustace Teal: The long-suffering Scotland Yard man. Teal was Templar’s foil, the guy always trying to catch him but secretly respecting him. Their chemistry was brilliant.
- The Guest Stars: Before they were huge, actors like Donald Sutherland, Oliver Reed, and Carol Cleveland appeared in episodes.
- The Women: The "Saint Girls" were a staple, but unlike the Bond girls of the early films, many of them were portrayed as capable, intelligent, and sometimes even the ones doing the saving.
Why it still matters in 2026
You might think a show from sixty years ago would be unwatchable now. It’s not. There is a timelessness to The Saint TV show that many of its contemporaries lack.
Part of it is the pacing. The 50-minute format forced writers to be tight. There isn't much filler. Part of it is the sheer charisma of Roger Moore, who basically auditioned for the role of his life for seven years. When he finally took over the 007 mantle in Live and Let Die, he brought the Saint’s DNA with him. The humor, the raised eyebrow, the effortless cool—that’s all Simon Templar.
More importantly, the show represents a specific kind of escapism. It was filmed during a time of immense global tension—the Cold War was at its peak—yet it chose to focus on individual justice. Templar didn't care about politics or ideologies. He cared about people getting screwed over by those with power. That’s a theme that resonates just as much today as it did in 1964.
The legacy and the reboots
There have been attempts to bring the Saint back. Val Kilmer tried it in 1997 with a movie that was... fine, but it lacked the charm. There was a 1989 series with Ian Ogilvy called Return of the Saint, which was actually quite good and captured some of the Moore magic. There was even a pilot in 2017 starring Adam Rayner that didn't quite take off.
Why do they keep trying? Because the character is archetypal. Everyone wants to be the guy who has no boss, plenty of money, and always knows exactly what to say.
But for most fans, the definitive version will always be the Moore era. It captured a moment in time when London was swinging, the world was changing, and a guy in a sharp suit could fix everything with a clever plan and a well-timed punch.
How to watch and what to look for
If you’re diving into The Saint TV show for the first time, don't feel like you have to watch in order. It’s an episodic show; there isn't a massive overarching plot you’ll miss.
Start with the color episodes if you want the full "lifestyle" experience. The Queen's Ransom or The Fiction Makers are great entry points. They show the scale the series eventually reached. If you prefer something a bit more grounded and moody, look for the early black-and-white episodes like The Talented Husband.
Pay attention to the locations. Even though they used a lot of backlots, the show was pioneering in its use of second-unit footage from around the world to give it a global feel. It made the world feel small and accessible at a time when most people never left their home countries.
Actionable Insights for Fans and Collectors:
- Seek out the Blu-ray restorations: The network (ITC) was ahead of its time by filming much of the show on 35mm film. This means the modern Blu-ray transfers look stunning—often better than shows filmed decades later.
- Read the original Leslie Charteris stories: To truly appreciate Moore's performance, read Enter the Saint. You'll see how much Moore changed the character to make him more likable for television.
- Check the credits: Look for the name Robert S. Baker. He was the producer who really understood the visual language of the show and ensured it maintained a high standard of production.
- Visit the "Saint" locations: If you're ever in the UK, many of the exterior filming locations around Borehamwood and North London are still recognizable. It’s a fun trip for any television historian.
The show isn't just a relic. It’s a blueprint. Every time you watch a modern show about a charming rogue or a high-stakes heist, you’re seeing the ghost of Simon Templar. Roger Moore might be gone, but the Saint stays. He’s forever driving that Volvo, forever wearing that halo, and forever making sure the bad guys don't get away with it.
To get the most out of your viewing, focus on the 1966–1969 color run first to see the production at its peak, then circle back to the early black-and-white seasons to appreciate the character's more cynical, noir-inspired roots.