The Man Who Haunted Himself
| Industry | Marine technology |
|---|---|
| Headquarters | London , United Kingdom |
The Man Who Haunted Himself is a 1970 British psychological thriller film directed by Basil Dearden and featuring Roger Moore in the lead role. The screenplay, crafted by Dearden, Michael Relph, and Bryan Forbes, is an adaptation of Anthony Armstrong's 1957 novel The Strange Case of Mr Pelham. This movie explores a variation of the classic Strange Case of Dr Jekyll and Mr Hyde motif and represents Dearden's final directorial effort before his passing in 1971.
Plot
Harold Pelham, who heads the marine technology company Freeman, Pelham & Dawson, undergoes an abrupt change in behavior while driving home from his office in London, resulting in a dangerous accident. During surgery, he briefly experiences clinical death, during which his heart monitor displays two simultaneous heartbeats.
Following his recovery, Pelham encounters unusual events: people claim to have seen him in places he cannot recall visiting, and his conduct becomes increasingly uncharacteristic. At home, his wife notices a silver car parked nearby whose driver imitates Pelham’s gestures and mannerisms. Concurrently, a competing firm initiates a hostile takeover attempt.
Pelham grows convinced that a doppelgänger is impersonating him. Social strains intensify when an alluring woman insinuates having an affair with "him," provoking his wife's anger. At his workplace, he discovers that this double has covertly arranged a merger involving a secret technological innovation through undisclosed meetings.
In search of assistance, Pelham contacts psychiatrist Dr. Harris and undergoes therapy designed to disrupt his previously rigid lifestyle. While he remains hospitalized, the impostor completes the merger and spends time with Pelham’s wife. Upon discharge, Pelham finds that the double has assumed control over his existence; family members and friends appear to support the impostor.
When confronting his double alone, Pelham learns that only one can survive following their near-death experience. A high-speed pursuit culminates with Pelham's vehicle plunging into a river. As his image fades away, the double survives but experiences a brief pain—symbolizing the reunification into a single identity.
Cast
- Roger Moore as Harold Pelham
- Hildegarde Neil as Eve Pelham
- Alastair Mackenzie as Michael Pelham
- Hugh Mackenzie as James Pelham
- Kevork Malikyan as Luigi, Pelham's butler
- Thorley Walters as Frank Bellamy
- Anton Rodgers as Tony Alexander
- Olga Georges-Picot as Julie Anderson
- Freddie Jones as Dr. Harris, the psychiatrist
- John Welsh as Sir Charles Freeman
- Edward Chapman as Barton
- Laurence Hardy as Mason
- Charles Lloyd-Pack as Jameson
- Gerald Sim as Morrison
- Ruth Trouncer as Miss Bird, Pelham's secretary
- Aubrey Richards as research scientist
- Anthony Nicholls as Sir Arthur Richardson
- John Carson as Ashton
- Basil Henson as casino manager (uncredited)
- Tony Wright as man in club (uncredited)
Original story
The movie draws from The Case of Mr Pelham, initially a short story from 1940 that was later expanded into a novel in 1957. Prior adaptations include a half-hour television episode on Alfred Hitchcock Presents featuring Tom Ewell, directed by Alfred Hitchcock. Additionally, the narrative was adapted twice for BBC television in 1948 and 1955, broadcast on BBC radio in 1946, and produced for Australian radio in 1959.
Development
Among the initial three films approved by Bryan Forbes at EMI Films, this project was greenlit alongside Hoffman and And Soon the Darkness. Its announcement came in August 1969, shortly before entering production following And Soon the Darkness.
This title was part of a broader slate valued between £5 and £10 million, encompassing fifteen films planned under Forbes’ leadership at EMI. The slate included notable titles such as The Railway Children, The Breaking of Bumbo, Dulcima, and The Go Between, though some projects never reached completion.
Moore, Relph, and Dearden had longstanding professional connections with Forbes. At that time, Moore was primarily recognized for his role in The Saint, despite recently returning to cinema with Crossplot. Producer Relph remarked that this film would offer Moore "a new dimension," commending his acting capabilities. Moore himself described accepting the role as "a deliberate decision" to distance himself from his television persona by venturing "into the far, far dark."
Moore considered this his first emotionally intense role in over a decade and valued the chance to demonstrate versatility beyond his usual heroic characters. His remuneration was £20,000 plus deferred payment.
This film also marked the screen debut of South African actor Hildegarde Neil, who had previously been affiliated with the Royal Shakespeare Company.
Shooting
Production commenced at Elstree Studios on 25 August 1969. Forbes highlighted, "We are not producing low-budget films... The sets are immaculate, but actors and crew are cooperating to help manage expenses."
Editor Teddy Darvas recalled Roger Moore’s professionalism and how director Basil Dearden initially hesitated to confront Moore due to his association with The Saint, though they eventually established a productive working relationship. Darvas also noted Dearden’s impatience during filming, sometimes calling 'Action' before the clapperboard was fully cleared and 'Cut' prior to actors finishing their lines. One particular shot even reveals the final frames of the clapperboard because of limited coverage, illustrating the tight constraints under which the production operated.
Lamborghini Islero
The 1969 Lamborghini Islero GTS featured in this film (registration YLR 11G) sold at auction for £106,400 in 2010. It is among only five right-hand-drive units ever manufactured. The same vehicle was auctioned again in March 2020, fetching a hammer price of £265,000 (£296,800 including fees).
Basil Dearden
This project represents director Basil Dearden’s last film. On 23 March 1971, he tragically died in a car accident on the M4 motorway after losing control and striking a signpost; his vehicle subsequently caught fire. Forbes referred to Dearden as "one of the finest craftsmen British cinema has produced." Notably, The Man Who Haunted Himself contains a crash sequence set on the M4. The day following Dearden’s passing, Forbes resigned from his position as head of EMI Films.
Release
Released in July 1970 alongside Hoffman and And Soon the Darkness, Forbes emphasized these films were created "with budgets as low as possible without compromising quality," aiming for profitability within the UK market rather than depending on international sales—a common pitfall for many companies.
Moore later commented on internal antagonism within EMI’s leadership toward Bryan Forbes, especially within EMI’s distribution division. This resulted in unprofessional promotional efforts that focused on minimal budgets rather than highlighting film quality. He argued that marketing should have accentuated both the excellence of the productions and the principal participants’ willingness to accept reduced fees instead of emphasizing cost-cutting measures.
Critical reception
Early critiques were predominantly unfavorable. Michael McNay from The Guardian acknowledged the film's professional execution but noted it did not align with his preferences. The Observer regarded it as outdated, while Sight and Sound highlighted its antiquated style in portraying a psychological thriller centered on a corporate executive's split personality. Alexander Walker of the Evening Standard described the film as "clever," though he felt it dragged at times.
Looking back, editor Teddy Darvas considered it "a fairly good movie" despite an implausible conclusion. Writer Wheeler Winston Dixon characterized it as a low-budget theatrical production resembling a television feature, ranking it below Dearden’s finest works.
Moore regarded this project as his finest, valuing the chance to portray a character beyond his typical heroic image. In 2024, The Guardian's critic Peter Bradshaw commended Moore’s acting as "truly outstanding."
Box office
The film's commercial performance was underwhelming. In July 1970, the Birmingham Mail noted that neither Hoffman nor The Man Who Haunted Himself achieved success financially or critically. Bernard Delfont later referred to these movies as "the real dodos crashing out of Elstree."
Alexander Walker suggested these productions were hurried into completion to provide financial stability for the studio, sacrificing opportunities for more daring projects. Their consecutive releases coincided with significant events such as the 1970 World Cup qualifiers and a general election, which further hindered their box office results.
Moore expressed regret over the film’s poor financial outcome, particularly since he held a profit stake. Delfont conceded that halting production would have been wise. Forbes’s standing at EMI suffered irreparably; he attributed the films’ failure to a slump in the British film industry during 1969–70 when domestic productions fell out of favor.
Although its initial lackluster reception led Moore back to television with The Persuaders, the movie was reissued in late 1972 to leverage Moore’s new role as James Bond. Interestingly, one scene contained a witty nod to espionage beyond Bond’s universe.
Home media
In 2005, the film was made available on DVD rated PG, including audio commentary by Roger Moore and Bryan Forbes.
On 24 June 2013, Network released a newly restored HD edition in a dual-format set. The Blu-ray retains the original widescreen theatrical aspect ratio and offers bonus content: a 34-minute music suite featuring Michael J. Lewis’s score; the previously released 2005 commentary by Moore and Forbes; the original cinema trailer; four galleries comprising storyboards and promotional materials; plus PDF documents for additional context. Network’s website hosts an article explaining the details of the film’s restoration and transfer process.