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  • I'm a big Roger Moore fan (the REAL 007) but I only heard about this film recently. I finally got a copy and I think it's a dynamite film. Not because I'm a big Moore fan - if a film sucks, I turn it off. But this movie is far better than all the reviews Ive ever read on it.

    I don't believe it drags at all - the pacing is great, especially where Moore keeps on discovering more and more people have seen "him" when it really was his double. Seeing hoe much deeper and deeper Moores double intergrates himself into Moore's life - his work, his liesure, his wife and home - is done extremely well. The inevitable confrontation between the two Pelhams is also done very well, and the ending is a kicker.

    Moore is great as usual and plays both roles with style and class.
  • Harold Pelham is a steady executive type who drives carefully, wears the same tie everyday and is a thoroughly dependable sort of chap. One day he is driving home when he has a car crash, he is rushed to hospital where his heart stops and he is saved by a medical team. Back at work after recovering he begins to suffer from memory losses – people tell him he played snooker last night but he can't remember etc. He begins to suspect that someone is impersonating him and is starting to live his life – but that's crazy, isn't it?

    Moore of the period will always be remembered for being Bond more than any other role he played. The downside of this is that he is seen as the weaker Bond the one who become more about innuendo and jokes than anything else. This film though, shows that Moore is a great actor – one who is capable of lifting a film and making it better than it was on paper. The plot here could easily have spun wildly out of control and indeed, at times, it comes very close to being unintentionally funny. However the film keeps it's air of mystery well – even when we are sure that there is a doppelganger on the loose the film still won't let us see more than his back or his hand etc. By doing this it actually makes the scene where the two meet to be quite effective. Of course it's all nonsense but it's well played nonsense.

    The main reason it works is Moore's increasingly unhinged performance – as the final hour goes by you can actually see him come apart like he was an old woollen sweater! It is difficult not to buy into the film because he is so convincing. His alter ego is also pretty good but it is the descent into desperation that he undergoes that makes this watchable. As a result I didn't really notice the input of the support cast – they were all quite solid but it was easily Moore's film. However, being a man, I did get distracted by Georges-Picot – waltzing around in sexy underwear in several scenes and I also thought Jones' psychiatrist looked like Dr Strangelove!

    Overall this deserves to have a cult following if it doesn't already, The visual effects are poor and the plot is absurd. Were it not for the brilliant Moore then this film would have been better played for laughs. Happily he carries it and holds the audience in his hand. The only weak point was the ending which, although clever, was a bit of an anticlimax – in fact the final 10 minutes didn't quite match the suspense that had been created in the build up.
  • Despite the extremely improbable premise, this 1970 film boasts one of Roger Moore's most accomplished performances.

    The plot, which centres around a staid businessman who "dies" for a few seconds on the operating table following a car crash, recovers and eventually finds out that a doppelganger is intruding in his life, is bizarre, but it is executed with such conviction and believability that the audience is entertained from start to finish.

    The suspense builds feverishly, as the doppelganger's intrusive actions increase to an alarming level, whilst Moore's performance is one of eye-popping, progressive hysteria. He steals all the scenes he is in, with the supporting cast being merely bystanders (with the possible exception of the ever-dependable Freddie Jones an an eccentric psychiatrist).

    The feeling of helplessness is excellently conveyed and well-maintained right up until the end. The film's resolution is stark and hard-hitting and because it is one we might not have anticipated, the film's credibility is maintained despite the obvious far-fetched nature of the story. However, two car accidents at pivotal moments in the film is a little bit hard-to-stomach and accept!!

    Obviously under-rated as a film spectacle by critics, this little gem of a thriller plays with your emotions and keeps you guessing all the way through. I doubt whether Roger Moore has performed a role better than this since.
  • 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
  • if ever a cumulative rating for a movie was insane it is THIS one! 5.3? yeah right. It's a 7 - end of story!

    Long before Moore's incarnation as 007, this is arguably near the top of Moore's filmography. After Harold Pelham has a near-death experience following an auto accident, he makes what appears to be a stoic recovery. It is only with the passage of time that he begins to notice subtle occurrences that don't seem to dovetail with his own personality. Either he is losing his mind or there is something remarkably rotten in the state of Denmark. Friends and business acqaintances swear they have interacted with him, moments BEFORE he arrives at work...his wife notices a radical change in him and ultimately the inescapable truth presents itself - he has a doppelganger!

    Call it far-fetched..its about the only weak point in the flick. Moore is just brilliant as he unravels in the face of his doppelganger's one-upmanship. The final scenes where he confronts his "twin" are riveting and should silence the tidal wave of critics who insist Moore could never act!

    A few years ago it was rumored that the film was to be re-made in New Zealand (Peter Jackson?) as DOPPELGANGER, with no less a personage than Travolta in the lead, and he would certainly do the role justice. Since then, heard nothing.

    This flick is well worth your effort finding somewhere, even on video.
  • Warning: Spoilers
    The Man Who Haunted Himself is a classic film that is often only found in the early hours of the morning on a remote channel. If however the sleepy viewer can hold back fatigue, they would discover a wonderful suspense film that is enhanced by a wonderful performance by Roger Moore as Harold Pelham. The story goes like this, Harold Pelham, a very proper gentleman drives home from work. While driving home from work he loses control of his car and crashes. Rushed to hospital, he ‘dies' on the operating table, but the doctors manage to revive him. He recovers and returns to work, but more and more people start commenting on seeing him and talking to him at times he knows he wasn't there. It is then that the awful truth dawns on Harold that he has his own doppelganger who is taking over his life. But Pelham's world isn't big enough for the two of them and he soon sets out to find his double before he goes mad… This is without doubt the finest film that Moore has starred in. I myself first saw it when I was very young and the level of suspense and downright terror at knowing that someone out there has taken your identity was enough to scare me then-and now. Hildegarde Neil, as Pelham's wife is excellent, and a young Anton Rogers appears as Pelham's friend. The film has many scenes that mark it out for being a classic, not least a wonderful and hauntingly psychedelic car chase that ties the film together. Basil Dearden, the director, died shortly after completing filming, dying in a car crash in a place that was in the ‘exact' same location that a major character dies in the film (right at the end) It was an incredible coincidence, and adds shock value to a film that deserves to be seen.
  • Harold Pelham gets in a freaky car accident, but survives.After that he believes there's a duplicate of himself messing up his life.The Man Who Haunted Himself (1970) is directed by Basil Dearden.This was actually his last movie and he died in a car accident near the spot Pelham is supposed to have crashed his car in the beginning of the film.Roger Moore proves here he really is a great actor.All those James Bond films may not give the biggest challenge as an actor, but here he really has to act.His wife Eve is played brilliantly by Hildegard Neil.Olga Georges-Picot is fantastic as the doppelgänger's lover Julie Anderson.Freddie Jones is terrific as Dr. Harris- Psychiatrist.Also great job by people like Gerald Sim (Morrison) and John Carson (Ashton).This is a really fascinating film.It has been called underrated, and that is very true.There's that psychedelic feeling going there.Like when Pelham is escaping his duplicate and he breaks the mirror and we see many Pelhams laughing there.The music is one element that helps create the atmosphere.And it is really a joy to see two Roger Moores in the same room.
  • Warning: Spoilers
    Roger Moore rates his performance in The Man Who Haunted Himself as the best of his career. It makes for a rather interesting insight when actors or directors or composers reveal what they consider their finest work. While the film itself in this case may not be the best that the actor has ever appeared in, Moore is probably right about his performance in it. He gets to register hitherto unseen emotions and nuances as the title character, and the script demands more "genuine" acting than he ever had to produce in the days of The Saint, The Persuaders, James Bond, or indeed any of his other movies.

    A dull and conservative business man named Harold Pelham (Roger Moore) is driving home from work one day when he does something extremely uncharacteristic. Almost as if possessed, he removes his seatbelt and drives terrifyingly fast, ultimately crashing his car. Later, while the unconscious Pelham is on an operating table his heart temporarily stops and it is only thanks to the speedy reactions of the doctors that he is revived. For a moment after his revival, something very strange happens – TWO heartbeats are briefly detected on the heart monitor. The operating doctors simply assume that their equipment is faulty. A while later, the fully healed Pelham returns to his usual routines – family life, work, social life, etc. But soon weird events start to plague him – people claim to have spoken to him the week before even though he has been on holiday; people turn up for lunch at his house when he swears he hasn't invited them; one man even pays up for losing a snooker match against him at the club, when in actual fact Pelham has no memory of playing the game. At work, a business opportunity involving a new electronic device is beset with problems as an alleged "mole" leaks details of the product to a rival company. Pelham begins to suspect that an impostor is trying to sabotage his life. Gradually, the awful truth becomes clear. When he died on the operating table and had to be resuscitated, a doppelganger (or "alter ego") was released…. and now the real Pelham and his sinister double are locked in a life-and-death struggle against each other.

    The Man Who Haunted Himself is an intriguing "thinking-man's" bloodcurdler. The story (by Anthony Armstrong) had already seen light as a 30-minute short on Alfred Hitchcock Presents. This extended version fleshes things out a bit more, and spends more time philosophising about the definition of identity, with Moore giving a riveting turn both as the bewildered hero and his evil double. In some ways the extra details inadvertently weaken the story, distracting audience attention from the teasing plot by dragging in too many characters and subplots. But it is worth persevering with the film through its periodic lulls, especially so that one can enjoy the absolutely terrific final scene – a thrilling car chase in which the real Pelham and the doppelganger pursue each until one of them plunges to his death over the side of a bridge. The ending is wonderfully unsettling and thought-provoking. On the whole, The Man Who Haunted Himself is a worthwhile audience teaser, a little drawn-out and heavy-handed in parts, but generally an enjoyable excursion into the supernatural for those who like such things.
  • A collector's item this one - you very rarely see a film as absurd yet enthralling as this. The plot is fabulously illogical, but it provides an opportunity to see Roger Moore in a role far more interesting than James Bond, as pin-striped executive Harold Pelham. Except that he plays TWO Harold Pelham's - one nice, dull, and sexually inadequate; the other a cavalier and sinister Romeo. This means a lot of Moore chasing round London insisting "I'm Harold Pelham!", and a climactic and weirdly psychedelic car-chase involving nice Pelham and nasty Pelham. If this hasn't yet acquired a cult following, it ought to.
  • gridoon15 July 2002
    A fascinating story - a man haunted by his doppelganger - and Roger Moore's excellent performance(s) make this film worth seeing, even though it overelaborates its point somewhat (the situation becomes clear to us long before Moore figures it out). Still, what we have here is an example of how a good movie can be produced on a relatively low budget, as long as it has a strong script and dependable actors. (***)
  • Roger Moore plays a man whose other half (the half with panache) finally wins control over his body, a body that was nearly killed (actually dies on the operating table for a few seconds) in a ferocious (and excitingly filmed) car crash. A conservative and safety conscious partner in a London engineering firm, he's let life slip by a bit too much, not making love with his wife, passing up on the chance to score with God knows how many beautiful young women, the one here being a photographer, and myriad other potentialities. Well the other Moore, (more like Bond) gets a shot at the life force after the accident, and the first one (Mr. Conservative) is increasingly bewildered at reports of sightings of him here and there, when he was somewhere else. Fighting for his family, his work, his reputation, and his sanity, he has most viewers rooting for him to come out on top. The two sides finally have it out in a brilliant conclusion, one in a Bentley (or Rolls) and the other in an Astin (or Lotus), that reaches classic cinematic proportions in this high class Cormanesque near masterpiece.
  • After years of watching bad copies of this on cable channels at 2am, I finally tracked down the DVD. It was worth the wait. I couldn't understand it back when I was 13 in the 1970's and I still can't understand it now. But it is absolutely brilliant. Moore is at his best - before Brett Sinclair and before James Bond - he is absolutely at the top of his game here. The mental unravelling is amazing to watch. The final meeting with the doppleganger is both claustrophobic and nightmarish. The driving scene at the end has shades of 2001 mixed with Dali. This was the end of the sixties after all. I really love Roger Moore, especially the Persuaders, the Bond films and the Wild Geese. He made some of the best stuff of my childhood. Perhaps this is the best one.
  • Warning: Spoilers
    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.
  • Lejink3 December 2014
    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!
  • mwerner-67 April 2006
    I'm a big fan old cars. Especially British and Italian (spor)cars. I found out that that a Lamborghini Islero S appeared in this movie. I find this car a very stunning car. Great looks. So i looked on this site and i was surprised that Roger Moore played the leading role in this movie. Roger Moore is one of mine favourite actors. I got curious and wanted to see this movie. So i bought the DVD and watched the movie. A very good movie. Roger played very good. Watch it you'll not regret it.


  • Warning: Spoilers
    Could have been good but an indifferent climax spoils it.

    *** This review may contain spoilers *** The Man Who Haunted Himself is set in London where electronics company executive Harold Pelham (Roger Moore) lives with his wife Eve (Hildegard Neil) & two young children, while driving home one evening Pelham crashes his car after losing control & is seriously injured. Pelham is rushed to hospital where he is operated, during surgery Pelham clinically dies for a couple of minutes but the doctor's manage to revive him. After recovering from the accident & returning from a holiday in Spain Pelham is eager to get back to work but learns that a rival electronics firm is trying to buy his company, strange things start to happen as well with various people saying that they saw Pelham several times the previous week even though he was in Spain on holiday. Pelham at first shrugs it off but soon realises that someone claiming to be him has been interfering in his affairs including having an affair, leaking sensitive company secrets & meddling in his life. Pelham has no explanation as the truth when revealed is beyond belief...

    This British production was directed by Basil Dearden who ironically died in a car himself about a year after The Man Who Haunted Himself was released & could have been a great supernatural mystery thriller but for the whole ambiguity of it which I personally didn't like, I have nothing against films leaving certain things for the audience to work for themselves but I didn't think The Man Who Haunted Himself made much sense. In particular the start when Pelham crashes his car during what looks like him being possessed even though the climax has Pelham's double claim he was set free during the time he was dead on the operating table, it's never really explained what Pelham's double is or why they can't just live happily together. Why does no-one question why the two Pelham's look identical? Why take one Pelham's word over the other when they both look & sound exactly the same? Don't give me the 'because he's wearing a different tie' rubbish either, the whole plot & the plan of the evil Pelham revolves around the fact that the original Pelham decides to wear a pink tie. Right. It's not all bad news though, until the Pelham double is revealed at the end The Man Who Haunted Himself is a fairly gripping mystery thriller as the original Pelham has to solve the mystery of his double but this set-up is wasted as the climax is a disappointment with no great twist & some surreal touches which are not in keeping with the rest of the film. I just would have liked a clever ending that tied everything together better, that's all. At just under an hour & a half The Man Who Haunted Himself has enough intrigue & mystery to keep you interested although it has a fairly sedate pace. Character's are alright if a little flat, everyone except Pelham is very one-dimensional from his housebound wife to his secretary to his snooker playing friends no-one here is fleshed out to any satisfaction or distinction.

    Very much a product of it's time The Man Who Haunted Himself has dated badly & screams late 60's early 70's with some shocking fashion choices, hairstyles & interior decorating on display. Although considered a horror film of sorts there's nothing that scary or gory here, there are a few scenes which try to generate tension & suspense but there's no outright explicit horror or scares on show. Based on the television episode Alfred Hitchcock Presents: The Case of Mr. Pelham (1955) this was apparently Roger Moore's favourite role & there's even a line of dialogue in which he talks about James Bond in reference to company espionage several years before he actually landed the part of Bond himself.

    Filmed here in England mainly in London this has decent production values but isn't particularly memorable. The acting is alright, Moore is good & while the supporting cast are decent as well they make little real impression.

    The Man Who Haunted Himself is a decent time waster, it's an odd supernatural mystery thriller that can't quite decide what it wants to be & ends up being a bit bland & I can't forgive the unsatisfying climax which I didn't feel was any sort of adequate pay-off for the long winded set-up. Watchable in a silly dated way but nothing special.
  • Warning: Spoilers
    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.
  • Roger Moore's character survives a serious car accident that actually leaves him dead on the operating table for some seconds. Finally out of hospital and getting back to business-as-usual he soon gets the feeling that something is terribly wrong. Stories of him being at two different places at the same time throws his psyche into confusion. This eerie thriller is a welcomed change of pace for Moore in his pre-Bond years. And unlike anything he has made before this demands real acting on his behalf, and he pulls it off convincingly. However the film itself moves at a sluggish pace.
  • Loved the film,Roger Moore does one of his best performances I have seen and an interesting little B picture
  • A British thriller; A story about a respectable executive who recovers after a car accident, and becomes convinced a double of him now exists, and is destroying his life. For such a conspicuous and interesting psycholigical story it is a pity the film lacks enough 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, surely his best character performance on film. He single handedly holds the film together in the third act.
  • Pre 007 Roger Moore plays a City businessman who finds himself being haunted by his doppelganger following a near fatal car crash. Very well made supernatural thriller which proves that you do not need gore or jump scares to make a film scary. It moves at a fast pace & kept me enthralled throughout. Good cast including a fine performance by Moore. Love the old Lamborghini that his duplicate drives around in!
  • Warning: Spoilers
    Despite I was a child when I watched it, I didn't manage to be scared. And I tried.

    The opening sequence says all. There's this proper gentleman driving his dignified car along the highway, the sun shines in the sky and everything is jolly good when all of a sudden for no apparent reason he pulls out a kind of "evil" face, pushes the throttle down and starts driving like a madman.

    Then he has an accident, obviously. A bit strange accident, truth be told. We see him squeezing his tyres from side to side for something like five minutes without hitting any other car and finally pulling down some cones and a wooden fence. This must be a serious accident in England though, because next thing he's struggling for his life in the emergency room.

    Which is notable since his body shows no injuries and there isn't the smallest trace of blood round there. But this is only the beginning. During the surgery (don't ask me what kind of surgery, there were doctors doing stuff and yelling to each other) his heartbeat literally splits in two and becomes "double". I'm not kidding you. There are two different lines doing beep beep now on the monitor of the machinery whereas there was only one moments before. And nobody there seem to notice that.

    Now, you would expect these unusual events being explained along the movie. I don't know, the devil, reincarnation, something.

    No way.

    You are only allowed to know that now there's a second Mr. Pelham in town, dating girls and driving sports cars dressed like a buffoon (Where does he sleep? Where does he get his money? Does he have a driving license to show to the police in case they stop him?).

    We can understand this movie only if we consider it not a horror but a goofy social satire on middle-class dullness. An "American beauty" ante litteram. And even so...

    I loved the very English background and the seventies atmosphere.

    Not actually a movie, rather a good laugh.
  • Warning: Spoilers
    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.
  • This is a nice little low budget early 70s thriller starring Roger Moore as a stuffy pretentious business man Harold peplum who is in a car crash and momentarily dies on the operating table who eventually is brought back to life and continues his life as if nothing had ever happened but not so long afterwards he starts being told by his colleagues and friends that they have been seeing him in places they would never expect to see him there and an attractive girl named Julie claims to have such an intimate relationship with him when he claims to his cynical wife that he has never seen her before and bit by bit his life continues to collapse around him and he wonders whether it's real or is he going insane ? . Overall it's an interesting film that boasts a compelling performance from Roger Moore who actually bothers to show audiences that he had at least a modicum of acting talent within himself
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