Dynamixor The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

Helloturia I have absolutely never seen anything like this movie before. You have to see this movie.

Tayyab Torres Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

Roxie The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

Prismark10 George Sanders added the word debonair to Simon Templar and when he left the series and got replaced with Hugh Sinclair and the films got shot in Britain with a lower budget, the decline in script and quality is obvious.Simon Templar finds a dead man on his doorstep and finds himself mired in murder, smuggling and a South American gold mine.The film is all rather silly with a runaround mess set on board a ship, although the Sander's films were shot in the USA there was some love on display, there is little love to show here and this was Sinclair's last appearance as the Saint and frankly he never convinced me in the role.

blanche-2 When a man is killed on his doorstep, Simon Templar (Hugh Sinclair) tries to find out the reason in "The Saint Meets the Tiger," a 1943 film also starring Gordon McLeod, Jean Gillie and Wylie Watson. In this episode, The Saint has a butler (Wylie Watson) who regrets not taking a job in Chicago so he could work with mobsters; a death on the doorstep is what he's been waiting for. The man utters a few words before he dies, which lead Simon and his butler to a small town. There they meet a young woman, Pat (Gille), who becomes part of the "team" trying to uncover the identity of "The Tiger" and reveal a scam involving gold and an old mine.The scenes on board ship were good, with the butler and Pat working together knocking people out and not realizing Simon was on board, too, and Simon not knowing they were on board. The two would run across a body and accuse the other of knocking him out. Inspector Teal shows up posing as a professor.This is pleasant enough, though Sanders brought a certain panache to the role of The Saint that is missed here. And why, when the series was imported to Britain, wasn't the Saint's whistle brought along with him?

Neil Doyle This entry begins with an intriguing opening--a man is found dead on Simon's doorstep and immediately Simon calls an inspector who, as usual, suspects Simon is holding out and knows more than he cares to reveal about the murder of a well-known bookie. Inspector Teal also has a confrontational moment with Simon's innocent butler."But I don't know anything," says Simon's butler."If you say that again, I'll arrest you on suspicion." Simon refers to his butler as a man who "sees the world through crime-colored glasses." The attempts at humor are as dull as the script.Unfortunately, HUGH SINCLAIR as "The Saint", has none of the charisma of either a George Sanders or a Tom Conway, which is a huge drawback and JEAN GILLIE is so-so as the romantic interest. Her instant dislike of Simon is a bit overdone. "I didn't recognize you without your halo," she tells him by way of apology.Nothing much happens that hasn't happened in a dozen other "Saint" movies as Simon attempts to find stolen gold and expose a crime boss called The Tiger. "Crooks work in the most select circles these days," he says, on the trail of gold thieves, while he moves through upper crust society.Once again, Inspector Teal comes close to arresting Simon for murder in a cat-and-mouse game. All the other familiar ingredients are here too, with Simon making escapes from the bad guys in incredible fashion. But I was already weary of the plot by the time it got to the smuggler's cave of gold. The revelation of The Tiger is only a modest surprise.Summing up: Moves quickly, but only moderately satisfying for "Saint" fans.

MartinHafer Leslie Charteris was apparently unhappy with the RKO films based on his Simon Templar character that were made in the late 30s and early 40s because they bore little similarity to his stories--just the titles and title character's name were often retained. I read that Charteris refused to allow further versions of his stories unless major changes were made. As a result, RKO did what you'd expect from a studio--changed the character's name and continued the series under a new name ("The Falcon"). However, they and Republic Pictures did not want to drop the idea of the Saint altogether, so they made a couple films in Britain with an entirely new cast. Part of this was, of course, to make Charteris happy but this was also done because a British law required that a certain percentage of films shown in the country must be domestically produced--hence many American companies, such as MGM, Warner and RKO bought or created British film companies. Most of these British productions were made on a shoestring budget and the parent companies didn't particularly care too much about the quality of the films, as they were never intended to be shown anywhere outside the UK--and they were only making them to get around British law.Now some of these British-made films very good and many of them were downright dull and boring--about how I would characterize THE SAINT MEETS THE TIGER--dull and boring. I know that this film has a reasonably high rating on IMDb, but for the life of me it was a major struggle for me to watch this insipid film. While the American films were not faithful to Charteris' vision, they were indeed fun. This more "by the book" version forgot to include the fun. Sure, they weren't "authentic", but for my money I'd much rather watch George Sanders as the Saint than dull old Hugh Sinclair--who, unfortunately, has the charisma of a mop.FYI--While I prefer the Americanized version of the Saint, the same cannot be said of James Bond. Just like the Charteris novels, most James Bond films have almost no similarity to the original Ian Fleming novels--just the titles and character name. However, I would LOVE to one day see a series based on the books, as they were far superior to the impossibly perfect Bond we've seen in the films.