The Fiction-Makers

2 episodes of the classic series sewn together for a UK cinema release. Simon Templar is mistaken for a writer of clever thrillers by a group of fanatics hell bent on robbing an impregnable strongroom.

Whether a parody or a straight copy, the similarities to Goldfinger are pretty blatant. Accepting this, this remains a fun enough piece of hokum if you like the tv series, helped considerably by the presence of Sylvia Syms.

"The Fiction Makers" was originally aired as a two-part Saint (TV series) adventure in 1968 (episodes #109 and # 110). Later it had theatrical and TV release as a feature film. This time famous Simon Templar (Roger Moore) has to face sinister Warlock (Kenneth J. Warren) , whose crimes are based on ideas taken from the books of a well known writer - Amos Klein (Sylvia Syms). Well, it's a typical Saint adventure which includes: grotesque villain, beautiful women, the chase, the fight and of course the one and only Roger Moore (the last real gent) , who proves that he's the best Simon Templar ever. The film was made in 60s and it can be rather funny than exciting but it doesn't matter. You don't watch this film because of its thrilling plot but because it's different than all those lousy "shoot n' run (and don't think much on your way)" films done these days. "The Fiction Makers" can be found as a very good documentary of what was popular in the 60s and how the films for TV were being made. But the greatest attribute of the film is, as I wrote before, 40-year old, but still looking good, future lord Brett Sinclair and James Bond - Roger Moore, his world famous Saint haircut (wow) and his perfect manners. My grade is 8/10, because the second Saint feature with Moore - "Vendetta For The Saint" (1969) is indeed much more thrilling.

A British spy adventure; A story about a a Robin Hood-like figure known as the Saint who is asked to act as a bodyguard to a best-selling adventure author, a young woman who uses a male pen-name. This feature length film dovetailed with the successful british TV series of "The Saint". It showcases the light comedy talents of stars, Roger Moore and Sylvia Sims. Technically, it has a flat TV look with full screen ratio because of its release previously as a two-part TV format. It has an interesting and ingenious plot, and the action, while not particularly suspenseful, is enjoyable and the third act holds up quite well. Despite it's low budget and TV stage feel, the film has good production values and is well produced. The film pays tribute in a small way to a burgeoning new genre of fantasy spy and heist films. As an aside, several scenes and motifs in the film resemble other such films: Goldfinger (1964), Pink Panther (1964) and Entrapment (1999).

The stage curtains open ...

Before Roger Moore was James Bond 007, he was Simon Templar, "The Saint". This 1968 film, "The Fiction-Makers", is such a fun movie to watch. It really is escapism that is campy, intelligent, and memorable. Originally shown on TV in two different episodes, they were combined for a cinema release and is now commonly packaged as a full-length movie.

Simon is asked to protect and look after a best-selling adventure novelist, a recluse woman who writes under the pseudonym of Amos Klein. And he arrives not a moment too soon as they are both abducted and taken to a veritable fortress under the control of a man who calls himself Warlock. Warlock is an obsessed fan of Klein's work, and has taken every idea she has written in her novels and brought them to life. Thinking that Templar is Klein, he forces them to assist him in planning and executing a daring heist that only his favorite novelist would be able to pull off.

For having been made in the late 60's, this film actually holds up pretty well. Moore shows off his usual wit and charm, and it is easy to see in this film why he was considered to fill the shoes of 007 after Connery and Lazenby. There is plenty of humor here as well that will generate a laugh or two along the way. And at the end of it all, you will be smiling ear to ear. "The Fiction-Makers" is a guilty pleasure - a lost gem.

I highly recommend this one. It took me a long time to find it again for my own personal collection, but now that I have it, I'll never let it go.

Naturally, I was aware of Roger Moore having been Simon Templar aka The Saint (a character created, complete with instantly recognizable theme, by Leslie Charteris) before he was Agent 007 aka James Bond, but I’d never actually watched him in the role (other than catching bits and pieces from the TV series when it was broadcast on Italian TV or the Bravo Cable channel).

Anyway, a number of episodes from “The Saint” (the series began shooting in black-and-white, then switched to color) were compiled to make up two individual features (the other being VENDETTA FOR THE SAINT [1969], which is to follow) and released to theaters. However, there was no mistaking the flat TV style (despite employing a veteran film-maker who had even worked in Hollywood), the full-frame ratio, or the studio-bound look (the big-budgeted James Bond adventures clearly could afford to be a great deal more elaborate); nevertheless, the cinematographer of this one – Michael Reed – went on to lens the very next 007 outing i.e. ON HER MAJESTY’S SECRET SERVICE (1969)!

The film, as a whole, emerges to be mildly enjoyable and serves up a fairly ingenious plot: Templar is mistaken for a popular pulp fiction novelist (actually a woman, played by Sylvia Syms) and kidnapped by a gang – hiding under the aliases of the criminal organization (complete with an H.Q. built to specifications) and characters ‘he’ had himself created – in order to plan a heist from an impregnable site! The leader of the villains is played by a flustered Kenneth J. Warren, who has fun with the role; his associates, then, include Nicholas Smith (later to be seen in the ARE YOU BEING SERVED? comic TV series!) and the engaging Justine Lord (who would prove a memorable femme fatale, literally “The Girl Who Was Death”, in the episode of that name from what was possibly the cult TV series of the era i.e. THE PRISONER).

As I said, the film suffers most from its ultra-modest budget – allowing for thrills and action highlights which, while not disagreeable in themselves, are decidedly bland and predictable, especially when stacked alongside what was being delivered in similar vein on the big screen…