Television series
Return of the Saint
A stylish 1970s resurrection of the Robin Hood vigilante, with Ian Ogilvy as the charming, independently wealthy Saint who uses criminal methods against organized crime. Playful action-adventure that balances humor with genuine stakes. For anyone who wants their crime-fighting served with wit and impeccable tailoring, no moral ambiguity required.
Should you watch it?
Watch it if you enjoy a breezy, tongue-in-cheek vigilante caper where a dashing loner outwits organised crime with charm and bravado, and polished retro style matters more than grit.
Skip it if your taste runs to fast-cut modern thrillers; this is leisurely and episodic, and its hero's wealthy swagger can feel dated.
What it asks of you: Settle in for an hour-long episode at a time, with 24 instalments to get through, and a pace that unfolds unhurriedly across a single season.
Not sure? Find tonight's pick in a minute.
If you liked this
The Persuaders1971
Tony Curtis and Roger Moore as contrasting millionaires solving mysteries with charm and wit. The template for elegant crime-solving, featuring the same balance of style, humor, and adventure that defines the Saint.
But Episodic and occasionally campy even by 1970s standards. The plots are often thin hooks for showcasing the leads' chemistry.
Danger Man1960
Patrick McGoohan as a resourceful secret agent in self-contained capers. Smarter plotting and tighter writing than many contemporaries, with that same blend of danger and dry humor that makes the Saint so watchable.
But Some episodes are uneven; the black-and-white format from earlier seasons feels dated. Requires patience with 1960s spy-show pacing.
The Avengers1961
Steed and Peel (or Tara) navigate London's criminal underworld with style, wit, and outrageous plots. Shares the Saint's refusal to take itself entirely seriously while maintaining genuine intrigue and genuine affection for its leads.
But The tone wavers; some episodes are self-parody when you want genuine threat. The gender dynamics of the earlier seasons feel dated.
Not sure tonight? Get a pick in a minute, starting from Return of the Saint
The wildcard
Something you would not have found on your own.
Thief1981
Both explore the psychology of the self-made outsider operating outside law, but where the Saint remains untouchable and amused, Mann asks what it costs to be exceptional and alone.
Michael Mann's masterpiece about a master thief on one final job. Visually gorgeous, morally complex, and suffused with a weariness that shows what happens when charm and ingenuity aren't enough to outrun consequence. The Saint's spiritual opposite and all the richer for it.
But Glacial pacing; this is meditation, not adventure. The ending is bleak and unforgiving—not the playful justice of the Saint at all.
More like this (8)
The Man from U.N.C.L.E.1964
Suave spy Napoleon Solo takes on international adversaries with gadgets and charisma. That same frothy blend of action and charm, plus Robert Vaughn's immaculate timing as the lead.
But Increasingly cartoonish as it goes on; by season three, camp overtakes stakes entirely. Some episodes feel padded for time.
Hustle2004
A con-artist team takes on criminals who deserve it, using brains over brawn. Modern update of the 'charming rogues dispensing justice' premise, with clever plotting and genuine camaraderie between the leads.
But Plotting can feel formulaic once you recognize the structure. Some cons are needlessly convoluted for their own sake.
The Saint1962
Roger Moore's original turn as the Saint, lighter and more playful than Ogilvy's version. If you prefer the earlier template, this shows where the character came from and Moore's effortless charm is undeniable.
But Shorter episodes and looser plotting than the 1978 revival. Some feel like filler between action sequences.
The Professionals1977
Two ex-soldiers become elite private operators handling high-stakes crime and espionage. Grittier than the Saint but sharing the same era's action sensibility and that blend of capable professionalism with wit.
But Noticeably more violent and serious in tone; lacks the Saint's playfulness. Some viewers find the dated masculinity off-putting.
Jason King1971
Peter Wyngarde as a flamboyant crime novelist who solves real murders, styled and clever. Shares the Saint's love of style and humor, with an even campier edge that extends the template delightfully sideways.
But Wildly uneven in quality; camp can tip into unwatchable. The 1970s sexism is more pronounced here than in the Saint.
Department S1969
A three-person team solves impossible crimes with ingenuity and style. Solid plotting and likeable ensemble, though it lacks the Saint's singular charisma and romantic intrigue that makes Templar tick.
But More procedural than the Saint; less glamorous and less humor. The cases, while clever, often feel like puzzles rather than stories.
Rififi1955
The Saint inherits Rififi's principle: crime can be beautiful, clever, and performed by charismatic men. Rififi is the blueprint; the Saint is the descendant dressed for dinner.
Jules Dassin's heist masterpiece, a French film about criminals with their own code. Twenty minutes without dialogue—just pure visual storytelling. The spiritual ancestor of every stylish crime story that followed, including the Saint's DNA.
But The pacing is deliberate and unhurried; it moves like a 1950s film, not a 1970s adventure. The morality is murkier—these are criminals, not vigilantes dispensing justice.
The Grifters1990
Both use beautiful, intelligent people committing crimes as their central appeal, but the Grifters asks the question the Saint avoids: what if charm and intelligence are exactly the tools predators use?
Stephen Frears' cynical masterclass about con artists and theft. Annette Bening, John Cusack, and Huston tear into a story about people who live by their wits but cannot outrun their nature. Gorgeous and cruel.
But Morally toxic in ways the Saint never is; these people hurt each other and deserve what they get. Sex, violence, and betrayal are central. No wish-fulfillment here.
