Retro Radio Memories Ep. 88 (The Saint)

Welcome back, friends. To this special Holiday episode of the Retro Radio Memories podcast. One of course whose subject just so happens to be The Saint. The popular running radio series based on the character created by Leslie Charteris in 1928. The Saint or Simon Templar as his friends and close enemies call him. Is in fact a type of modern day Robin Hood – however he lives off his ‘good deeds’ too. What I am saying of course is that Simon makes sure these actions help to line his own coffers in the process.
The Saint - Leslie Charteris

While it is certainly true that we’ve shared an episode or two of The Saint on the podcast before. With the Holiday upon us, I felt it the perfect time to share a Seasonal offering. While The Saint radio series got it’s start in 1940, most fans feel that it was the NBC version that is best. Naturally it is hard to argue that fact as it feature Vincent Price as Simon Templar!
The Saint - Vincent Price

In our episode today, entitled Santa Claus is No Saint. Templar of course finds himself mixed up in a dangerous situation. Furthermore, one that involves a case of mistaken identity as well as a stolen necklace.

So settle in where it is warm, friends. Let the soothing electronic glow of your monitor or phone ease your worries away. And join us on Retro Radio Memories as we go on another caper with The Saint!

If you have any comments or feedback for the show you can e-mail them to at You can also reach me on Twitter and of course on Facebook.

The music on the podcast was provided by Peachy! You may contact him by e-mail at And be sure to “Like” him on his Facebook Page.

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Now that you have enjoyed the adventures of Vincent Price as The Saint. Why not continue to enjoy the exploits of Simon Templar?

I am referring of course to the late and great Roger Moore’s popular television adaptation of the character, in an episode entitled The Latin Touch!

Roger Moore as 007 James Bond

The first James Bond movie I ever saw was 1983’s “Octopussy,” starring Roger Moore as 007. I must’ve been about 4 or 5. What I most remember about my initial viewing of the film is when a henchman winds up with an octopus attached to his face after being thrown into an aquarium. That sort of thing sticks with a young kid. Something else that stuck with me was Moore’s performance as Bond. Although Moore was the third actor to play James Bond (after the inimitable Sean Connery and the one-off George Lazenby), he was my point-of-entry into the franchise. And so, I have a certain reverence for Moore’s take on the character.


Moore played Bond in seven movies, equal to the number of turns by Connery. Funnily enough, Connery’s final performance as Bond was in “Never Say Never Again,” an unofficial remake of “Thunderball” that was released the same year as “Octopussy;” believe it or not, Moore’s film outgrossed Connery’s in what was dubbed The Battle of the Bonds.

It’s generally agreed upon by fans, myself included, that Moore’s best Bond entry is 1977’s “The Spy Who Loved Me.” It was his third time out as Bond, following 1973’s “Live and Let Die” and 1975’s “The Man With the Golden Gun.” TSWLM is the first Bond film, however, that doesn’t draw anything from Ian Fleming’s books beyond its title. It sees Bond and KGB Agent XXX (Barbara Bach, not Vin Diesel) trying to locate two hijacked submarines — one American, the other Russian — and prevent a web-fingered madman from starting WWIII. Agent XXX soon discovers that Bond killed her lover on a previous assignment (during the sensational mountaintop ski chase pre-credits sequence) and vows to take her revenge once the mission is complete. There’s a lengthy battle aboard a supertanker at the climax, one that required the (uncredited) talents of Stanley Kubrick to help design the lighting; the formidable Richard Kiel as the henchman Jaws; and Carly Simon crooning “Nobody Does It Better (The Spy Who Loved Me)” over the opening credits. All in, TSWLM is easily one of the top five films in the series.

Moore’s Bond installments tend to be overshadowed by the gadgetry and maybe have a little too much fun at the expense of the hero. “Octopussy” goes as far as having Bond disguise himself as a circus clown, which must’ve had Fleming turn over in his grave. I’ll defend the bulk of 1979’s “Moonraker,” although the laser battle in Earth’s orbit at the climax makes “Flash Gordon” look like “Casino Royale.” The series fortunately returned to its grittier roots with 1981’s “For Your Eyes Only;” that film also has one of the best posters in the series. The absolute nadir of Moore’s run is his final Bond film, 1985’s “A View to a Kill.” Still, that film gave us the excellent Duran Duran song, so it’s not a complete bust.

Roger Moore shepherded Bond through the bulk of the 1970s and halfway through the ’80s in a diverse, 12-year run. He matched wits against the likes of Christopher Lee and Christopher Walken, he visited a man-made Atlantis beneath the ocean as well as an orbital platform high above Earth, and he even wooed Maud Adams in “The Man With the Golden Gun” and Maud Adams again in “Octopussy.” Nobody does it better. Well, maybe Connery.