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Good movie but grossly overrated

Fresh and Exciting

Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

I thought this was a good film.Roger Moore is great as the slightly dull family man Pelham who begins to have a meltdown when strange things start happening to him following a car crash. Apparently when he briefly dies on the operating table his "evil" or more exciting character is released and when he is brought back to life this leads to him having a duplicate. Therefore, his other side starts turning up and doing things opposite to what he would do thus causing him to slowly start to go mad because he was unaware of this.The ending is a bit strange though because the other characters don't appear shocked enough when the two Pelhams meet. They seem to accept a bit too easily that the "evil" Pelham is the genuine one and the "real" Pelham is the phoney despite the fact that the "evil" one acts totally differently to the "real" one in that he is more of a daredevil. Despite this I still enjoyed it because it shows the sometimes real struggle of living a possibly dull everyday life and the wish to have a more exciting one.Good performances make up for the slightly disappointing ending and overall this is a film worth seeing I think.

That's what Roger Moore says in this film before he even became James Bond. Ha ha. It's a classic film moment. In this film, Moore has a high-powered job but he's a little dull in his bowler hat life routine. However, after he has a car crash, there seems to be a second Moore living a parallel life to him, meeting with people he knows and even his wife and children. We mainly watch the film from the perspective of the dulloid Moore and follow his descent into paranoia.His doppelganger is a more cunning version of himself – jumping in to bed with the ladies (of course) and craftily manipulating business deals. His servant is that bloke from "Mind Your Language" – you know, "Max" the Greek guy. We don't see much of the doppelganger but are aware of his presence throughout the film and this keeps the mystery going. The music is fun but the actual story is complete nonsense with no attempt to tie up the ludicrous plot. It doesn't matter – just approach it with an awareness that this isn't realistic and go with the flow.

An excellent low-budget British thriller with Roger Moore in a double role as a placid London city-gent who lets his suppressed wilder side out behind the wheel of his car only for the inevitable resulting car crash to quite literally split him in two. From them on, the mystery of Moore's doppelgänger deepens, taking in out-of-character visits to a snooker club and casino, murky dealings in the city and a dalliance with a young female photographer, before the nail-biting climax sees him finally catch up with and then attempt to run away from himself only for another car-crash to bring about a final, satisfactory conclusion.Moore is very good, yes believe it, very good as the anguished businessman in two minds (and bodies) about himself, displaying both facets of his character's character (if you follow me) as one struggles to track down and the other to exert supremacy over the other. No Simon Templar or of course James Bond-in-waiting this, indeed, Moore's character suffers from impotence, of all things. Of course the story is highly preposterous and could be viewed as an extended, more adult version of an episode of contemporary ITC productions like "Randall and Hopkirk Deceased" or "Department S" but this sort of stuff is in Moore's DNA and he plays his characters arrow-straight and convinces the viewer that he is perhaps losing his mind.There's good support from the reliable Anton Rogers as his colleague and confidante in the firm, while Hildegard Neil is quietly effective as Moore's dissatisfied and disbelieving wife. Director Basil Deardon, who by a tragic coincidence died only 18 months after making this film also in a terrible car crash, keeps the tension stoked throughout, gradually leading the audience to the unlikely yet inevitable conclusion to the drama. The London settings, seen today over 40 years later, are evocative, although the fashions and in particular the muzaky soundtrack do date it somewhat. There's also an accidentally amusing moment when Moore's character deprecatingly if presciently compares himself to James Bond.Nevertheless, this is a genuinely intriguing and involving mystery thriller with a touch of the supernatural about it to give it that little extra edge.No two ways about it...

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