one other foreshadowing of Moore's Bond in this season...
in A Double in Diamonds (S5E24 5 May 1967) there is yet another jewel robbery, and a replica of a valuable diamond necklace which at one point Templar swaps with the original without telling anybody. Now with all the jewel robbery plots in this series, I'm sure that's not the first time this has happened, but coming right after The Gadget Lovers I was certainly on the lookout for moments our Roger might have been tempted to recycle in his new job.
Bond swaps the replica of the Faberge egg with the original in Octopussy of course.
Now having watched so much MooreTemplar, when I next watch his seven Bond films I am going to be perceiving his version of Bond differently. Maybe he's not so much Roger Moore trying to impersonate ConneryBond, but maybe Simon Templar himself has been given the infamous codename! In that Octopussy scene, he is demonstrating the skillset specifically of Simon Templar rather than any established version of Bond! I wonder how many other moves in Moore's Bond films are more Templar than Bond?
Hiding Miss Caruso from M? I'm not sure Sean would have bothered: "Oh, she's right here, sir."
His attempt at asking Goodnight to sleep with him.
His whole behaviour with Melina (until the end, anyway) and Bibi.
Templar wouldnt have made that clumsy pass at Goodnight
funny thing about The Saint: there's a spectacularly beautiful costar in every episode, but Templar rarely seems romantically interested, usually his involvement is very chaste but with courtly charm that women find fascinating. Maybe its because its tv, but he rarely even kisses them.
In the Man from UNCLE its a running gag Solo flirts with ladies when he's supposed to be working, but its just tv flirting. Whereas in the movie versions of the same stories he sleeps with them, and the innuendos in the dialog are more Adult. So that's what's allowed on tv versus movies. But Templar rarely even seems to flirt with his many beautiful lady friends, very unexpected for Rogers More.
That clumsy pass at Goodnight is Bonds most pathetic attempt to hit on a woman in the whole series, and she's a coworker! (a direct subordinate too if you go by what Fleming wrote). Imagine if he tried that today!
I am still compiling my research for my report on Season 6, but wish to give a special report on the two part episode I just watched:
The Fiction Makers
(s6011 8 December 1968 and s6012 15 December 1968)
This was also released as a feature film in the format of the Man from UNCLE films, and has unique opening credits and music, more in the style of The Pink Panther
this story is very metafictional and has lots of spy spoof elements.
Begins with Templar at the premiere of a new spyfilm, his inner monolog critiquing the predictability of the fight moves (as some folks do watching Moore's Bond films!). The film-within-the-film is the first in a new series based on the spy novels written by the mysterious Amos Klein. Templar is asked to be a sort of bodyguard for Klein, who turns out to be a beautiful woman (Sylvia Syms). Almost immediately kidnappers show up and take both Templar and Klein prisoner, assuming Templar to be Klein and Klein to be his secretary.
The evil Mr Warlock (Kenneth J. Warren) is an aspiring supervillian who has based every element of his operation on the writings of Klein (who can therefor predict and outthink his every move). His evil organisation is called S.W.O.R.D. (Secret World Organization for Retribution & Destruction), again from Klein's novels, and he is plotting a Goldfinger style heist and demands the author plan the details.
Villain's evil headquarters is actually a rural lunatic asylum, so that when they try to escape and tell their story local residents understand completely send them right back where they came from.
As all the rooms have hidden cameras and microphones, Templar and the real Klein are always on stage being observed by their captors and must stay in character, while the "secretary" eagerly does all the real planning and Templar does the talking (does this relationship foreshadow a futureBond's preBond teevee series? ie Remington Steele?). These two have an excellent comedy rapport, and at one point perform Astaire and Rogers style dance moves (for "two hours") to distract the minions watching the monitors. So there is the film-within-the-film that starts the story, the staged performances for the benefit of the video monitors, the mistaken identities, the fictional spy novelist writing fictional Fleming style spy thrillers, and the elaborate multilayered conceit that allows Roger Moore to act out a version of Goldfinger several years before actually being offered the part of Bond. Thats a whole lotta meta goin' on! Villain even warns Templar to not so much as "arch an eyebrow" or the girl gets it!
But note for the plot to work, once again it is the villains who are the only people in this universe not to recognise the Famous Simon Templar.
Since this adventure is about a writer, lets give credit to the actual writer John Kruse, who wrote many of the very best Saint episodes and seems to be the only one Charteris actually approved of.
Of interest to us Bondfans, Philip Locke (Vargas from Thunderball) plays one of the evil henchmen. Also both the 3D scale model and the laser torture from Goldfinger are replicated.
IMDB claims this was actually filmed in 1966 but not released in either form for two years, if true why would they have held it back for to years, SpyMania was on the wane by 1968? IMDB must have that wrong.
For another layer of meta, this was novelised in 1968
(this is one of many covers over the years) and credited to Leslie Charteris. IIRC (it's been decades since I read it) Charteris does give credit to both John Kruse (who wrote the screenplay as you say above) and to Fleming Lee, who did the novelisation.
IMDB haven't got it wrong. It was filmed at the same time as episodes for season 5 and was slated for a movie release in Europe in 1966/67. Why it didn't happen, goodness knows.
thanks @chrisno1 , that seems so strange as 1966 would have been the perfect year for it. Even if there was a glut of spy spoofs that year it was better than most of them, and cleverly constructed. And it obviously had more work invested in it than the usual weekly Saint episodes, so why set it aside for so long. I wonder what the reasoning was?
@Barbel yes i see what you're saying, Charteris is taking credit for another author's work (thus his authorship is a Fiction) just as Templar is taking credit for Amos Klein's! but in Templar's case he was just trying to save her life.