a film so unique, intoxicating and bizarre that it not only demands another viewing, but is also forgivable as a satirical comedy where the jokes eventually take the back seat.

Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

Amazing worth wacthing. So good. Biased but well made with many good points.

There's a more than satisfactory amount of boom-boom in the movie's trim running time.

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.

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.

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...

Some twenty or so years have passed since I originally saw this film, which, at the time I found to be very though-provoking, so it was with a mixture of interest and skepticism that I ordered it from Lovefilm. Happily, I was not disappointed. This is, without doubt, Moore's finest acting role and he delights with his use of facial expression; to me it shows that there is a lot more to his acting skills than the rather one-dimensional parts he spent most of his career playing e.g. The Saint, Brett Sinclair and Bond. Of course, this is dated, as it was filmed in 1970, however most people - myself included - have a fond affection for this period. Good support from some stalwart actors, including Anton Rogers and Hildegard Neil make this a satisfying experience. In my opinion, this story would merit a re-make by a director such as Christopher Nolan.NB One of the spookiest things about this film is that the director - Basil Dearden - was tragically killed in a car accident shortly after it was completed, in the exact stretch of road used in the film. This only serves to add to the mystery of this film but may put any superstitious directors off attempting a re-make. My recommendation is to watch this late at night with the lights off... Enjoy!