shakercoola For such a conspicuous and interesting story it is a pity the film lacks suspense for the paranoia it seeks to create. Instead we have a mystery play which achieves satisfying atmosphere but is prosaic. Viewers will gain a nostalgic view of London but the production suffers its low budget and a soundtrack out of kilter. What rescues the film somewhat is Roger Moore's performance in a dual role, and surely his best character performance on film. He single handedly holds the film together in the third act.

bombersflyup The Man Who Haunted Himself, despite having a quality premise and a solid lead performance from Moore, falls short of being memorable.The resolution is probably its biggest downfall. They talk it out and then he runs off the road, dies and disappears. Yes it resolved the situation, his life goes on, but what does it do for the viewer? Plus Pelham having those repetitive flashes while driving at the end, was really annoying. Why didn't he enjoy spending time with and want to be intimate with his wife? That was odd. It was also rather sluggish at times. I did like it, it just could of been so much more.

Leofwine_draca This intriguing chiller has an original premise for once - a man is haunted, not by a ghost, but by his own double! This clever idea manages to carry the entire film, which is in itself quite slow-moving but nonetheless gripping thanks to a solid central performance from a pre-Bond Roger Moore. Moore has never been regarded as much of an actor but I think he does admirably well here, conveying the frustration and fear at a life slowly falling apart extremely well.For once this film fully explores the central theme, and never explains whether Moore is ill or is really being haunted until the end of the film. Until then, the tension is gradually wracked up with events becoming stranger and stranger until it seems that there is no escape for the poor, harassed Moore. He starts off as an immaculately dressed businessman and ends up as an unkempt wreck - a transformation with devastating consequences. Moore even provokes sympathy in some pivotal sequences, especially the final confrontation with his doppelganger in which even his family do not recognise him anymore - a heartbreaking moment.Lots of familiar British character actors pop up in minor roles. Thorley Walters is his usual bumbling self, while familiar hammer players Gerald Sim, John Carson, and even Charles Lloyd-Pack flesh out small parts. But it's Freddie Jones and Kevork Malikyan who stand out as a psychiatrist (inevitably loopier than his patients) and Spanish manservant respectively - both giving their hammy best in over-the-top parts.This is a fun, engaging and totally unique film which is a delight to watch and doesn't require any brain work whatsoever. Thus it's an extremely easy and enjoyable film to have on, although I'm not too sure of the repeat potential - once you know what happens, there's not much point sitting through it all again. For the most part, though, this is an unfairly forgotten gem of British cinema, dated, yes, but miles better than you would probably imagine and than reviews would have you think.

lunchtime_obooze Anyone who ever suggests that Roger Moore can't act should be made to watch this film.What could have been a rather humdrum thriller is enlivened by a lead performance which demonstrates the mental collapse of a man who is watching his life fall apart.A series of strange incidents build to a tense and frightening climax where Moore really shows his skill. Combine that with a taut script, inventive direction (particularly in the fast-moving final scene) and a haunting score and you have a pretty good film.One slightly odd note - a year after filming, the director Basil Dearden was himself killed in a car accident near the spot where the fictional crash which begins this film took place.