Roger Moore (1927 – 2017)
Being a child of the seventies, Roger Moore was the James Bond that I grew up with. I was acutely aware of my parent’s generations antipathy towards him, as well as the endless and possibly unjust comparisons with Sean Connery. However, the younger fans embraced him so over the course of seven movies, Moore’s Bond broke all previous box office records. Furthermore, as each successive film in the franchise got bigger and became more of a caricature of itself, Moore tempered this with his self-deprecating humour and quips. His trademark cocksure performances and easy going charm was exactly what UK audiences needed. At a time when the country was losing its way in the world, both politically and economically, Roger Moore still effortlessly maintained the image of the suave, cool and droll English gentleman.
Being a child of the seventies, Roger Moore was the James Bond that I grew up with. I was acutely aware of my parent’s generations antipathy towards him, as well as the endless and possibly unjust comparisons with Sean Connery. However, the younger fans embraced him so over the course of seven movies, Moore’s Bond broke all previous box office records. Furthermore, as each successive film in the franchise got bigger and became more of a caricature of itself, Moore tempered this with his self-deprecating humour and quips. His trademark cocksure performances and easy going charm was exactly what UK audiences needed. At a time when the country was losing its way in the world, both politically and economically, Roger Moore still effortlessly maintained the image of the suave, cool and droll English gentleman.
Beyond the role of Bond, Roger Moore often found himself playing similar composite characters in big budget action dramas. Rather than complaining about such type casting he embraced it and always delivered what audiences expected. Movies such as Shout at the Devil, The Wild Geese and The Sea Wolves all have classic Moore performances. Yet in giving the public what they wanted, Moore was subsequently accused of lacking dramatic range. Moore even went so far as to exploit this misconception, as part of his signature self-effacing humour. “My acting range has always been something between the two extremes of raises left eyebrow and raises right eyebrow” as he famously said. Yet Moore definitely did have hidden depths and could deliver more than expected. In The Man Who Haunted Himself (1970) he gave possibly his best performance. North Sea Hijack AKA ffolkes (1980) also saw him play the opposite of Bond. He even showed a flair for comedy, satirising himself and 007 in The Cannonball Run (1981).
Outside of the world of cinema, Moore was a great raconteur and the embodiment of the English gentleman he so often played. He was introduced to the good work of UNICEF through his friendship with Audrey Hepburn and over the course of two decades lent his fame and lobbying power to numerous good causes, raising millions for charity. He was also a good and loyal friend to those that he knew and worked with. When stuntman Martin Grace and long-time double for Roger Moore was seriously injured while filming Octopussy, the actor regularly visited him in Hospital over the course of his recovery, despite still being tied up with ongoing post production for the film. Then of course, there are the anecdotes from fans that reiterate how accessible and considerate Moore was. One has understandably gone viral in the last twenty-four hours and has now reached the mainstream press. Quite rightly so. It is a lovely reminiscence as well as a fitting tribute to an iconic actor and tireless humanitarian. Thank you Roger Moore. For “keeping the British end up”.
The Man Who Haunted Himself (1970)
Roger Moore has often been accused of being an actor of limited range, although in all fairness, this may be down to typecasting. This cinematic curiosity from 1970 proves otherwise and is considered by some to be his best performance. Made immediately after The Saint TV series, it afforded its star an opportunity to tackle a character who is rather puritanical, potentially impotent and in every way the complete opposite of Simon Templar and James Bond.
Roger Moore has often been accused of being an actor of limited range, although in all fairness, this may be down to typecasting. This cinematic curiosity from 1970 proves otherwise and is considered by some to be his best performance. Made immediately after The Saint TV series, it afforded its star an opportunity to tackle a character who is rather puritanical, potentially impotent and in every way the complete opposite of Simon Templar and James Bond.
The Man Who Haunted Himself begins with executive Harold Pelham driving home from work, when he uncharacteristically starts to drive dangerously. After crashing he is taken to hospital where his heart stops during the operation. Once resuscitated, there are two heart beats briefly showing on the monitor. Returning home, Pelham finds his life has been turned upside down. At his job as a director of a marine technology company he learns that he now supports a merger that he once opposed. Furthermore it would appear that he is having an affair. Friends, colleagues and acquaintances claim they have seen him in places that he has never been. Does Pelham have a doppelganger, or is he actually going insane?
Director Basil Dearden had prior experience in handling tense supernatural tales, having directed segments for the classic Dead of Night. He handles the unfolding story in The Man who Haunted Himself in a competent fashion. The tension slowly builds and there is growing sense of disquiet rather than sudden shocks. The end is somewhat ambiguous and is open to several interpretations. Overall this is an intriguing character study, with solid performances. It is definitely a product of the times and may not necessarily appeal to contemporary viewers with little patience. However for genre fans and Roger Moore aficionados, this is a rewarding ninety minutes.