Kris Gray I've never been a big fan of Mr Moore, he's played himself in just about everything bar this great slice of 70's cinema. I actually saw this in a cinema back in the day and loved it so much so that whenever it crops up on TV I still watch it. He actually acts in this other than being the Saint in everything else.The melt down of his original character as the doppelganger appears to take over his life shows that Mr Moore could act if he wanted to. It was also interesting to see how empty the elevated section of the M4 looked, if it were filmed now there would probably be a traffic jam.Ignore the negative reviews, of course it would have better production values today but the story is solid and grips the audience. An interesting concept which has been redone many times since but this is one of the originals, I recommend it.

Jackson Booth-Millard I was devastated to see the Breaking News about the death of the James Bond 007 star and national treasure Sir Roger Moore, at the age of 89, after a short battle with cancer, even more so because I had met him at a book signing, and seen him onstage, so the day of his death I paid tribute and watched this film. Basically Harold Pelham (Sir Roger Moore) is an uptight city worker, one day whilst driving his Rover P5B he suddenly becomes possessed, driving at high speed until he crashes. Pelham is taken immediately to hospital whilst on the operating table he briefly suffers clinical death, after he is brought back to life there appear to be two heartbeats on the monitor, then this disappears. When Pelham awakes, he finds his life has been turned upside down, including changes in his job as director of a marine technology company, where he learns he is supporting a merger that he once opposed, and he is apparently having an affair. As time goes by, Pelham's friends, colleagues and acquaintances claim to have seen him in places where he has never been, and certainly has no memory of doing so. Pelham finds he is also being followed by a mysterious silver Lamborghini Islero, slowly he suspects someone is pretending to be him, but then he calls home, and is shocked to hear a voice identical to his. Pelham returns home, looking in bad shape, and he is shocked to find himself, a doppelganger, his family assume that the Pelham just entered is a stranger pretending to be him. In the end, both Pelhams get into a high speed car chase, until finally the ruined Pelham crashes and goes off the bridge into the river, the refined Pelham looks down at the wreckage, and appears to have a moment where the second personality leaves his body, then he walks away. Also starring Hildegard Neil as Eve Pelham, Alastair Mackenzie as Michael Pelham, Hugh Mackenzie as James Pelham, Kevork Malikyan as Luigi, Thorley Walters as Frank Bellamy, Anton Rodgers as Tony Alexander, Olga Georges-Picot as Julie Anderson, Freddie Jones as Dr. Harris - Psychiatrist, John Welsh as Sir Charles Freeman, Edward Chapman as Barton, Laurence Hardy as Mason, Charles Lloyd Pack (Roger's father) as Jameson and Gerald Sim as Morrison. Moore gives one of his most serious performances, as the respectable businessman, with a moustache, slowly descending into madness from either mistaken identity, split personality or a second incarnation, the eerie atmosphere just about sticks throughout the film, you question what is real and what is not sometimes, there are the slow moments, but overall it is an interesting enough psychological thriller. Worth watching!

FilmBuff1994 The Man Who Haunted Himself is a good movie with a reasonably well developed storyline and a terrific cast. For a ninety minute film, it's quite slow to begin, but once the story properly kicks off it is very intriguing, as we follow a man who suspects someone may be impersonating him, a situation which ends up being even more insane than he expected. Roger Moore's performance in this film is astounding, and it's a shame he will never get the recognition he deserves for the hard work he put in to this role, long before James Bond he proved that he was well able to play deranged men, but due to poor marketing, this film never took off. The budget was clearly very low and because of that it does fail to deliver its complete potential, there are limited locations, Pelham's office building and house being where the majority of the scenes take place, and some parts felt very thrown together, as if they did it in one take, not trying to perfect it. The ending is the main reason I am giving this a seven instead of an eight, the build up and tension of the two Pelham's finally meeting is well executed, the scene when they finally meet is the highlight of the entire movie, and suddenly it felt as if they could not think of how to end it, it's ridiculously anti-climatic, leaving so many unanswered questions, you could not help but feel frustrated. Roger Moore certainly brings in a fantastic performance that adds to the thrills, and though it may have many flaws, The Man Who Haunted Himself is still worth the watch if you are looking for a good thriller. A man suspects a duplicate of him may be roaming about and living his life in a more luxurious fashion. Best Performance: Roger Moore

Spikeopath With its 1970s chic cheese and swagger and Roger Moore's excellent performance, The Man Who Haunted Himself has a considerable cult fan base. Directed by British legend Basil Dearden, plot finds Moore as Harold Pelham, who after being involved in a serious car accident, comes around from the trauma to find that his life is being turned upside down. It seems that somebody is impersonating him, people he knows swear he was in places he hasn't been, that he has been making decisions at work that he knows nothing about, and that he has a sexy mistress that threatens to destroy his marriage. Is he going mad? A victim of a collective practical joke? Or is there really something more sinister going on?Don't be a slave to convention!So yeah! A cult gem waiting to be rediscovered is The Man Who Haunted Himself, it has a plot that positively bristles with intrigue. As the doppleganger motif is tightly wound by Dearden, who smartly sticks to understated scene constructions as opposed to supernatural excess, there's a realistic and human feel to the story. The makers are not going for jolt shocks, but taking a considered approach that has the pertinent mystery elements lurking in the background, waiting for their chance to reveal themselves for the utterly thrilling finale. A finale that is bold and special, obvious but not, and definitely tinged with cunning ambiguity.With Moore drawing on talent from his acting pool that many thought he didn't have (two different characterisations smartly realised here), and Dearden pulling the technical strings (love those off-kilter angles and multi mirrored images), this is a film that has surprises in store all across the board. 8/10