He left Rossall in 1924. Keen to pursue a creative career, he decided to study art in Paris—after all, that was where the great artists went—but soon found that the life of a literally starving artist didn’t appeal. He continued writing, firing off speculative stories to magazines, and it was the sale of a short story to Windsor Magazine that saved him from penury.
He returned to London in 1925, as his parents—particularly his father—wanted him to become a lawyer, and he was sent to study law at Cambridge University. In the mid-1920s, Cambridge was full of Bright Young Things—aristocrats and bohemians somewhat typified in the Evelyn Waugh novel Vile Bodies—and again the mixed-race Bowyer-Yin found that he didn’t fit in. He was an outsider who preferred to make his own way in the world and wasn’t one of the privileged upper class. It didn’t help that he found his studies boring and decided it was more fun contemplating ways to circumvent the law. This inspired him to write a novel, and when publishers Ward Lock & Co. offered him a three-book deal on the strength of it, he abandoned his studies to pursue a writing career.
When his father learnt of this, he was not impressed, as he considered writers to be “rogues and vagabonds.” Charteris would later recall that “I wanted to be a writer, he wanted me to become a lawyer. I was stubborn, he said I would end up in the gutter. So I left home. Later on, when I had a little success, we were reconciled by letter, but I never saw him again.”3
X Esquire, his first novel, appeared in April 1927. The lead character, X Esquire, is a mysterious hero, hunting down and killing the businessmen trying to wipe out Britain by distributing quantities of free poisoned cigarettes. His second novel, The White Rider, was published the following spring, and in one memorable scene shows the hero chasing after his damsel in distress, only for him to overtake the villains, leap into their car…and promptly faint.
These two plot highlights may go some way to explaining Charteris’s comment on Meet—the Tiger!, published in September 1928, that “it was only the third book I’d written, and the best, I would say, for it was that the first two were even worse.”4
Twenty-one-year-old authors are naturally self-critical. Despite reasonably good reviews, the Saint didn’t set the world on fire, and Charteris moved on to a new hero for his next book. This was The Bandit, an adventure story featuring Ramon Francisco De Castilla y Espronceda Manrique, published in the summer of 1929 after its serialisation in the Empire News, a now long-forgotten Sunday newspaper. But sales of The Bandit were less than impressive, and Charteris began to question his choice of career. It was all very well writing—but if nobody wants to read what you write, what’s the point?
“I had to succeed, because before me loomed the only alternative, the dreadful penalty of failure…the routine office hours, the five-day week…the lethal assimilation into the ranks of honest, hard-working, conformist, God-fearing pillars of the community.”5
However his fortunes—and the Saint’s—were about to change. In late 1928, Leslie had met Monty Haydon, a London-based editor who was looking for writers to pen stories for his new paper, The Thriller—“The Paper with a Thousand Thrills.” Charteris later recalled that “he said he was starting a new magazine, had read one of my books and would like some stories from me. I couldn’t have been more grateful, both from the point of view of vanity and finance!”6
The paper launched in early 1929, and Leslie’s first work, “The Story of a Dead Man,” featuring Jimmy Traill, appeared in issue 4 (published on 2 March 1929). That was followed just over a month later with “The Secret of Beacon Inn,” starring Rameses “Pip” Smith. At the same time, Leslie finished writing another non-Saint novel, Daredevil, which would be published in late 1929. Storm Arden was the hero; more notably, the book saw the first introduction of a Scotland Yard inspector by the name of Claud Eustace Teal.
The Saint returned in the thirteenth issue of The Thriller. The byline proclaimed that the tale was “A Thrilling Complete Story of the Underworld”; the title was “The Five Kings,” and it actually featured Four Kings and a Joker. Simon Templar, of course, was the Joker.
Charteris spent the rest of 1929 telling the adventures of the Five Kings in five subsequent The Thriller stories. “It was very hard work, for the pay was lousy, but Monty Haydon was a brilliant and stimulating editor, full of ideas. While he didn’t actually help shape the Saint as a character, he did suggest story lines. He would take me out to lunch and say, ‘What are you going to write about next?’ I’d often say I was damned if I knew. And Monty would say, ‘Well, I was reading something the other day…’ He had a fund of ideas and we would talk them over, and then I would go away and write a story. He was a great creative editor.”7
Charteris would have one more attempt at writing about a hero other than Simon Templar, in three novelettes published in The Thriller in early 1930, but he swiftly returned to the Saint. This was partly due to his self-confessed laziness—he wanted to write more stories for The Thriller and other magazines, and creating a new hero for every story was hard work—but mainly due to feedback from Monty Haydon. It seemed people wanted to read more adventures of the Saint…
Charteris would contribute over forty stories to The Thriller throughout the 1930s. Shortly after their debut, he persuaded publisher Hodder & Stoughton that if he collected some of these stories and rewrote them a little, they could publish them as a Saint book. Enter the Saint was first published in August 1930, and the reaction was good enough for the publishers to bring out another collection. And another…
Of the twenty Saint books published in the 1930s, almost all have their origins in those magazine stories.
Why was the Saint so popular throughout the decade? Aside from the charm and ability of Charteris’s storytelling, the stories, particularly those published in the first half of the ’30s, are full of energy and joie de vivre. With economic depression rampant throughout the period, the public at large seemed to want some escapism.
And Simon Templar’s appeal was wide-ranging: he wasn’t an upper-class hero like so many of the period. With no obvious background and no attachment to the Old School Tie, no friends in high places who could provide a get-out-of-jail-free card, the Saint was uniquely classless. Not unlike his creator.
Throughout Leslie’s formative years, his heritage had been an issue. In his early days in Singapore, during his time at school, at Cambridge University or even just in everyday life, he couldn’t avoid the fact that for many people his mixed parentage was a problem. He would later tell a story of how he was chased up the road by a stick-waving typical English gent who took offence to his daughter being escorted around town by a foreigner.
Like the Saint, he was an outsider. And although he had spent a significant portion of his formative years in England, he couldn’t settle.
As a young boy he had read of an America “peopled largely by Indians, and characters in fringed buckskin jackets who fought nobly against them. I spent a great deal of time day-dreaming about a visit to this prodigious and exciting country.”8
It was time to realise this wish. Charteris and his first wife, Pauline, whom he’d met in London when they were both teenagers and married in 1931, set sail for the States in late 1932; the Saint had already made his debut in America courtesy of the publisher Doubleday. Charteris and his wife found a New York still experiencing the tail end of Prohibition, and times were tough at first. Despite sales to The American Magazine and others, it wasn’t until a chance meeting with writer turned Hollywood executive Bartlett McCormack in their favourite speakeasy that Charteris’s career stepped up a gear.
Soon Charteris was in Hollywood, working on what would become the 1933 movie Midnight Club. However, Hollywood’s treatment of writers wasn’t to Charteris’s taste, and he began to yearn for home. Within a few months, he returned to the UK and began writing more Saint stories for Monty Haydon and Bill McElroy.
He also rewrote a story he’d sketched out whilst in the States, a version of which had been published in Th
e American Magazine in September 1934. This new novel, The Saint in New York, published in 1935, was a significant advance for the Saint and Leslie Charteris. Gone were the high jinks and the badinage. The youthful exuberance evident in the Saint’s early adventures had evolved into something a little darker, a little more hard-boiled. It was the next stage in development for the author and his creation, and readers loved it. It became a bestseller on both sides of the Atlantic.
Having spent his formative years in places as far apart as Singapore and England, with substantial travel in between, it should be no surprise that Leslie had a serious case of wanderlust. With a bestseller under his belt, he now had the means to see more of the world.
Nineteen thirty-six found him in Tenerife, researching another Saint adventure alongside translating the biography of Juan Belmonte, a well-known Spanish matador. Estranged for several months, Leslie and Pauline divorced in 1937. The following year, Leslie married an American, Barbara Meyer, who’d accompanied him to Tenerife. In early 1938, Charteris and his new bride set off in a trailer of his own design and spent eighteen months travelling round America and Canada.
The Saint in New York had reminded Hollywood of Charteris’s talents, and film rights to the novel were sold prior to publication in 1935. Although the proposed 1935 film production was rejected by the Hays Office for its violent content, RKO’s eventual 1938 production persuaded Charteris to try his luck once more in Hollywood.
New opportunities had opened up, and throughout the 1940s the Saint appeared not only in books and movies but in a newspaper strip, a comic-book series, and on radio.
Anyone wishing to adapt the character in any medium found a stern taskmaster in Charteris. He was never completely satisfied, nor was he shy of showing his displeasure. He did, however, ensure that copyright in any Saint adventure belonged to him, even if scripted by another writer—a contractual obligation that he was to insist on throughout his career.
Charteris was soon spread thin, overseeing movies, comics, newspapers, and radio versions of his creation, and this, along with his self-proclaimed laziness, meant that Saint books were becoming fewer and further between. However, he still enjoyed his creation: in 1941 he indulged himself in a spot of fun by playing the Saint—complete with monocle and moustache—in a photo story in Life magazine.
In July 1944, he started collaborating under a pseudonym on Sherlock Holmes radio scripts, subsequently writing more adventures for Holmes than Conan Doyle. Not all his ventures were successful—a screenplay he was hired to write for Deanna Durbin, “Lady on a Train,” took him a year and ultimately bore little resemblance to the finished film. In the mid-1940s, Charteris successfully sued RKO Pictures for unfair competition after they launched a new series of films starring George Sanders as a debonair crime fighter known as the Falcon. But he kept faith with his original character, and the Saint novels continued to adapt to the times. The transatlantic Saint evolved into something of a private operator, working for the mysterious Hamilton and becoming, not unlike his creator, a world traveller, finding that adventure would seek him out.
“I have never been able to see why a fictional character should not grow up, mature, and develop, the same as anyone else. The same, if you like, as his biographer. The only adequate reason is that—so far as I know—no other fictional character in modern times has survived a sufficient number of years for these changes to be clearly observable. I must confess that a lot of my own selfish pleasure in the Saint has been in watching him grow up.”9
Charteris maintained his love of travel and was soon to be found sailing round the West Indies with his good friend Gregory Peck. His forays abroad gave him even more material, and he began to write true-crime articles, as well as an occasional column in Gourmet magazine.
By the early ’50s, Charteris himself was feeling strained. He’d divorced his second wife in 1943 and got together with a New York radio and nightclub singer called Betty Bryant Borst, whom he married in late 1943. That relationship had fallen apart acrimoniously towards the end of the decade, and he roamed the globe restlessly, rarely in one place for longer than a couple of months. He continued to maintain a firm grip on the exploitation of the Saint in various media but was writing little himself. The Saint had become an industry, and Charteris couldn’t keep up. He began thinking seriously about an early retirement.
Then in 1951 he met a young actress called Audrey Long when they became next-door neighbours in Hollywood. Within a year they had married, a union that was to last the rest of Leslie’s life.
He attacked life with a new vitality. They travelled—Nassau was a favoured escape spot—and he wrote. He struck an agreement with The New York Herald Tribune for a Saint comic strip, which would appear daily and be written by Charteris himself. The strip ran for thirteen years, with Charteris sending in his handwritten story lines from wherever he happened to be, relying on mail services around the world to continue the Saint’s adventures. New Saint books began to appear, and Charteris reached a height of productivity not seen since his days as a struggling author trying to establish himself. As Leslie and Audrey travelled, so did the Saint, visiting locations just after his creator had been there.
By 1953 the Saint had already enjoyed twenty-five years of success, and The Saint Detective Magazine was launched. Charteris had become adept at exploiting his creation to the full, mixing new stories with repackaged older stories, sometimes rewritten, sometimes mixed up in “new” anthologies, sometimes adapted from radio scripts previously written by other writers.
Charteris had been approached several times over the years for television rights in the Saint and had expended much time and effort during the 1950s trying to get the Saint on TV, even going so far as to write sample scripts himself, but it wasn’t to be. He finally agreed a deal in autumn 1961 with English film producers Robert S. Baker and Monty Berman. The first episode of The Saint television series, starring Roger Moore, went into production in June 1962. The series was an immediate success, though Charteris himself had his reservations. It reached second place in the ratings, but he commented that “in that distinction it was topped by wrestling, which only suggested to me that the competition may not have been so hot; but producers are generally cast in a less modest mould.” He resented the implication that the TV series had finally made a success of the Saint after twenty-five years of literary obscurity.
As long as the series lasted, Charteris was not shy about voicing his criticisms both in public and in a constant stream of memos to the producers. “Regular followers of the Saint saga…must have noticed that I am almost incapable of simply writing a story and shutting up.”10 Nor was he shy about exploiting this new market by agreeing a series of tie-in novelisations ghosted by other writers, which he would then rewrite before publication.
Charteris mellowed as the series developed and found elements to praise too. He developed a close friendship with producer Robert S. Baker, which would last until Charteris’s death.
In the early ’60s, on one of their frequent trips to England, Leslie and Audrey bought a house in Surrey, which became their permanent base. He explored the possibility of a Saint musical and began writing some of it himself.
Charteris no longer needed to work. Now in his sixties, he supervised the Saint from a distance whilst continuing to travel and indulge himself. He and Audrey made seasonal excursions to Ireland and the south of France, where they had residences. He began to write poetry and devised a new universal sign language, Paleneo, based on notes and symbols he used in his diaries. Once Paleneo was released, he decided enough was enough and announced, again, his retirement. This time he meant it.
The Saint continued regardless—there was a long-running Swedish comic strip, and new novels with other writers doing the bulk of the work were complemented in the 1970s with Bob Baker’s revival of the TV series, Return of the Saint.
Ill-health began to take its toll. By the early 1980s, although he continued a healthy correspondence with the outs
ide world, Charteris felt unable to keep up with the collaborative Saint books and pulled the plug on them.
To entertain himself, Leslie took to “trying to beat the bookies in predicting the relative speed of horses,” a hobby which resulted in several of his local betting shops refusing to take “predictions” from him, as he was too successful for their liking.
He still received requests to publish his work abroad but had become completely cynical about further attempts to revive the Saint. A new Saint magazine only lasted three issues, and two TV productions—The Saint in Manhattan, with Tom Selleck look-alike Andrew Clarke, and The Saint, with Simon Dutton—left him bitterly disappointed. “I fully expect this series to lay eggs everywhere…the only satisfaction I have is in looking at my bank balance.”11
In the early 1990s, Hollywood producers Robert Evans and William J. Macdonald approached him and made a deal for the Saint to return to cinema screens. Charteris still took great care of the Saint’s reputation and wrote an outline entitled The Return of the Saint in which an older Saint would meet the son he didn’t know he had.
Much of his time in his last few years was taken up with the movie. Several scripts were submitted to him—each moving further and further away from his original concept—but the screenwriter from 1940s Hollywood was thoroughly disheartened by the Hollywood of the ’90s: “There is still no plot, no real story, no characterisations, no personal interaction, nothing but endless frantic violence…” Besides, with producer Bill Macdonald hitting the headlines for the most un-Saintly reasons, he was to add, “How can Bill Macdonald concentrate on my Saint movie when he has Sharon Stone in his bed?”
The Saint Closes the Case (The Saint Series) Page 24
