On a Clear Day You Can See Forever (1970) Other movies recommended for you
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Plot: Daisy Gamble, an unusual woman who hears phones before they ring, and does wonders with her flowers, wants to quit smoking to please her fiancé, Warren. She goes to a doctor of hypnosis to do it. But once she's under, her doctor finds out that she can regress into past lives and different… Runtime: 129 min Release Date: 17 Jun 1970
Okay, granted you have to like Barbra Streisand to love this movie. But for those of you who don't, it's worth a catch just to see Bob Newhart and Jack Nicholson as "young" men. Jack is especially funny in his short scenes with Barbra and her fiancée...But the main reason to see this flick is the acting and musical talent of Barbra. She has to STRETCH to play a mousy crowd follower, and then switch it up to play a haughty wealthy socialite in a past time period. The costumes are out of this world, and the film should have won an academy award for costume design, although <more>
Barbra's figure did her costumes justice. The periods in history represented by the film are stunningly presented. All in all, this is my favorite movie of all time. There is laughter, sorrow, drama, singing, dancing, lots of Barbra skin showing, sexuality, scorn, mocking, a panorama of events and celebrations and Barbra's eventual awakening as her own person. I salute Vicente Minnelli, post mortem.
On A Clear Day improves and is more enjoyable for each viewing. The first time I saw it was such a huge elephant of a movie, a baffling entertaining jumble. So many ideas propped into one movie to make it popular and a box office hit in a time of change and when the big movie companies were desperately seeking hits to save themselves from ruin.So this movie is crammed when ingredients that had proven successful in earlier movies in the 60´s : Barbra Streisand and a musical score Funny Girl , gigantic sets and costumes in 19th century style My Fair Lady , 60´s mod clothing, a big European <more>
star for the overseas market Montand , new young stars Nicholson for counterculture hippy flavor, student riots very 'now' then , reincarnation and telepathy sci-fi , british accents both snobby and cockney swinging London Barbra is one of the biggest talents of the 20th century and was born a little too late. Those huge musicals she stars so well in where dated then and she would have been better off in the 40s or 50s. She is very beautiful, womanly and sexy when she is in period costume. In the modern scenes she is fascinating and a little annoying when she´s trying to be a kooky 60´s chick à la Twiggy.Yves Montand is miscast even though he has earthy European charm. He is unbelievable because he cannot pronounce the dialouge!!!!! His diction is a disaster and didn´t do the film any favors. Was there really no other singer for the male lead?The songs are very good and underrated. Why does one never hear them as other musical classics? The direction from Vincente Minelli works since the film is very lush and enthralling. The period costumes by Cecil Beaton are beautiful without being too much and look great on Babs. The snazzy Scaasi mod clothes are a hoot!It is very ambitious combinig so many elements and hope it works. Despite it all the film does have charm and one is drawn into 2 hours of pure Hollywood entertainment and at the same time it is fascinating to see one of the very last old time Hollywood productions. It was already outdated when it was released 1970. Bad timing; the movie must have seemed as ancient as a dinosaur. It was apparently longer. There was supposedly a scene with Babs, Jack and 'Warren' at a disco but it got cut I would LOVE to see the original version!!!!! This is good fun to watch on rainy day forever
Barbra is so Barbra and that's why the movie is there. (by budmassey)
The critics savaged this one, so it must be good. Personally, I love it. Barbra is so Barbra and that's why the movie is there in the first place. Kvetching between her overbearing fiancé and a psychiatrist who is in love with the girl she used to be, literally, she sings to flowers and makes them grow and finds lost things and, oh yes, the phone is about to ring. A young Jack Nicholson is her free spirited step-brother, and though he would not emerge as a star for several more years, he's every inch the Nicholson you know and love. There are great turns by Bob Newhart and Yves <more>
Montand, both a little stiff as you would expect, but in the end, Clear Day is exhilarating and uplifting. The DVD edition is manna from heaven, since widescreen is the only way to view good cinema, and the soundtrack is flawless in digital.
"That The Glow Of Your Being Outshines Every Star" (by bkoganbing)
Although you would never know it by the scope of the cinematography with its breathtaking shots of New York, topped by Yves Montand singing on top of the World Trade Center, the film version of On A Clear Day You Can See Forever is actually quite an edited version of what was on stage. Having been one of those fortunate enough to see one of the 280 performances during its run in 1965-1966, I can tell you this for a fact. Quite a bit of the Regency England flashbacks is cut out and even some of the modern era numbers.Still On A Clear Day You Can See Forever retains both the title song and Come <more>
Back To Me which are the two numbers that have lingered on. Robert Goulet had a big hit record of the latter song, elbowing its way into the charts dominated by the British Rock invasion. The original show starred Barbara Harris and John Cullom and had such worthy folks as Hamilton Camp, William Daniels and Titos Vandis in the cast.As my father's profession was psychology this show was a must item to see in our house. With the powerhouse name of Barbra Streisand now in the lead playing Daisy Gamble, Streisand seeks out noted psychologist Yves Montand to cure her of an incredible five pack a day smoking habit with hypnosis. But under hypnosis Streisand proves to be a remarkable subject, revealing a past life as an Englishwoman of means who didn't always have those means and was quite the the figure during the Regency. She was also hanged as a traitor when her psychic ability to predict disasters at sea made authorities think she was collaborating with the French.Montand's pretty excited about his subject, giving her quite a buildup with colleagues like Simon Oakland and Bob Newhart. In the meantime Montand is falling for some aspect of Streisand, but is it who she is or who she was? As for Streisand she's engaged, kind of, to Larry Blyden who is chasing the everyman suburban dream in America. Blyden's got an interesting character, it's a combination of his own creation Sammy Glick from What Makes Sammy Run and the worst aspects of some of Jack Lemmon's everyman characters from several films. William Daniels played his part on stage.Jack Nicholson plays Streisand's former step brother and I'm surprised because even then Nicholson was a rising star, that he would do such a small part. His scenes are mostly with Streisand, but he's got one devastating scene with Blyden in which in his own droll way, he punctures a lot of his pretensions.This was the next to last film directed by Vincente Minnelli who did a few good musicals in his time and this certainly belongs among them. Though I would have liked to have heard more of the Burton Lane-Alan Jay Lerner score, what was left was sung well indeed by Streisand and Montand. In an age when musical budgets were catastrophic because of the studio system breakdown, all the good ones, in fact just about every one seemed to star the only bankable singers around, Barbra Streisand and Julie Andrews. I'm glad this one got preserved.
"Meet the Fockers" aside, much of the Barbra Joan Streisand filmography has been concerned with the complexities of a split self. From "Up the Sandbox" to "Yentl," Mrs. Brolin has been continuously exploring the notion of a divided diva. Perhaps Barbra's best and most egregiously overlooked dissociative epic is her third film, "On A Clear Day You Can See Forever," released by an indifferent Paramount Pictures in 1970. With a dementedly brilliant screenplay by Alan Jay Lerner adapted from his modestly successful 1965 Broadway show and directed with <more>
a Rembrandt's eye by Vincente Minnelli, "On A Clear Day" is finally starting to enjoy the cult status this meshuga masterpiece deserves. As one critic commented at the time of the film's original theatrical run, "On A Clear Day..." is a movie made up of such haunting and oddball elements that it truly must be seen to be believed. In the decades since this opulent eye-popper debuted, it's highly stylized design, metaphysical themes and Minnelli's feel for fantasy are finding a more appreciative, even adoring audience.In a finely delineated dual role, Streisand is Daisy Gamble, a supernaturally gifted chain smoker who consults with a hypnotist to help her kick her five packs a day habit. While under, Daisy reveals a previous incarnation as Melinda Tentrees, nineteenth century England's most delectable coquette - who sports a retina arresting array of Cecil Beaton's extraordinary period costumes Lady Tentrees is a jaw dropping knockout in her white turban and diamond-studded gown in the lavish banquet sequence filmed at the otherworldly Royal Pavilion in Brighton. Minnelli surrounds a vibrant Streisand with nearly every available male in Actor's Equity: Yves Montand severely constipated or merely French? , Jack Nicholson not yet "Jack" , Larry Blyden the human equivalent of serge grey and Bob Newhart paging Suzanne Pleshette , all of whom are completely superfluous alongside Our Lady of Brooklyn's self-contained star power. It's no surprise that Barbra's best moments are virtuosic affairs, especially a hypnotic seduction scene to the tune of "Love With All The Trimmings."When road show musicals suddenly resembled woolly mammoths in the freewheeling 70's, Paramount hacked away at Minnelli's version, excising some 15 minutes of footage some sources say far more , including several musical numbers with Nicholson's "Who Is There Among Us Who Knows?" among the casualties . Although the axed sequences have been coveted by Streisand fanatics for decades, none of the truncated scenes were resurrected for Paramount's infuriatingly vanilla DVD release in 2005, though some striking cover art offers minimal consolation. On a clear day, some ambitious film scholar should carefully comb through the studio vaults and see if any of the unused footage still exists. Since the majority of the trimmed scenes were cut very late in post-production, it's possible that those elusive Daisy and Melinda moments are just waiting to be rescued from the cutting room floor...? Bottom line: If you have "Funny Girl" memorized, here's the next best Barbra. - Mark Griffin
There is so much to like and dislike about this movie. It opens and closes with "Babs" singing and a colorful hypnotic "infinity" title sequence similar to the one used on TV's "Night Gallery". She goes to college Prof. Cabot to be hypnotized into quitting smoking. She "regresses" to past lives under hypnosis. Her past lives are fascinating and Daisy Gamble, in present day, is a chain-smoking 22-year-old with an inferiority complex. Her modern day outfits range from cute to ridiculous, with that big white "baby-doll" hat. Yves Montand <more>
should have taken better diction lessons, as his broad "French" accent is annoying at times and unintentionally funny. His singing is OK and much smoother, as he "croons" his songs and it is pleasant enough. Several great and haunting songs and her first song after the titles , "Love with all the Trimmings", deserves a PG rating as she is quite provocative with a plunging neckline. The other well-known songs are cleverly humorous or ironic. Besides the title song "Clear Day...", "What Have I Got I don't have Now?" is so good that it was a break-out "single" for Eydie Gorme. "Come Back to Me" is extremely clever and shot "on-location" all over NYC. Jack Nicholson plays "Tad", her second love interest. His part was shortened and his song was cut. Her fiancé "Warren" is a total bore. Bob Newhart, as the college president performs his role as a "stand-up routine" and it isn't all that funny. Like many musicals, it only seems to come-to-life during the production and song numbers, which are beautifully filmed at an English palace with "Oscar-worthy" set decoration and period costumes. Mostly for sale as used copies. Currently "out of print" by Paramount.
Masterly coda to one of Hollywood's greatest careers. (by alice liddell)
ON A CLEAR DAY opens with two extraordinary sequences. Firstly, with Babs singing the title song, there is a montage of flowers growing at speed in front of our very eyes, a decisively Minnellian melange of colour and artifice to create a real eye-dazzlingly emotional explosion which reaches an ecstatic crescendo as Babs skips through a maze of floral abundance. This is followed by a chilling, antithetical credits sequence, a VERTIGOesque assembly-line of diminishing rectangles in cool, gorgeous colours, in which the familiar Broadway music feels distorted and distant.These two sequences <more>
encapsulate the film's conflict - between heart and mind; emotion and intellect; freedom and order; dream and reality; self-expression and conformity. In 1970, the age of BONNIE AND CLYDE, M*A*S*H and WOODSTOCK, a Minnelli/Lerner/Streisand musical must have seemed amusingly quaint, but today, we can marvel at its audacity and flair, while many of its more acclaimed contemporaries seem tinny and shrill.The narrative proper seems initially mundane after such abstract excess. Daisy Gamble perfect name! interrupts a lecture by famed psychologist, Marc Chabot, being accidentally hypnotised as he demonstrates on a pupil. She is a scatty, ditzy loudmouth who has come to Chabot in the hope that he will manipulate her out of a 5-packs a day smoking habit to please her ultra-conformist fiance, Warren, who has a career-crucial business dinner.Chabot has little interest in this clumsy pest until he discovers that she has some psychic powers. Intrigued, he explores her through hypnosis and discovers her past-life as a supremely resourceful, sexually magnetic, orphaned Cockey golddigger of the Regency, who is standing trial for espionage and treason, her caddish husband having deserted her. Chabot begins to fall in love with this remarkable woman, and believing, against all his rationalist principles, in reincarnation.Even by Minnelli's standards, this is a bravely open-ended picture, not only in its unexpected denouenment, but in refusing to simplify the bewildering, complicated emotions his characters become prey to. On a simple structural level, he contrasts conformity with the life of emotion and imagination. Chabot is a doctor whose devotion to science and facts is almost monkish in its celibate form. His office is the embodiment of conformity, a bland brown pervading walls, chairs, fittings, barred windows, books, even his own clothes. Despite being Yves Montand, he is no French lover. Into his life comes this impossible woman whose striving for fiance-pleasing order results in further chaos. In her second incarnation, as Melinda, she brings bawdiness, vulgarity, romance, humour, daring, but, most of all, colour, sumptuous, ravishing, blinding colour. The effect she has on Chabot is reflected in the film's form, which moves from steady, mid-level, classical compositions, to outrageous fancy, dizzying camera movements, mercurial editing cutting across time and space. Chabot soon begins to have Daisy's dreams, while she becomes divided from herself in a remarkable visualisation of the split between duty and desire. But it's not enough to suggest simplistic dichotomies - even the 'normal' Daisy has a rooftop garden which is simply magical isn't that such a lovely idea, a woman who makes flowers grow quickly by talking to them? , while her fiance, like Darrin from BEWITCHED, is so desperate to conform that he becomes mad. 'Sciences', such as psychoanalysis are invoked in the spirit of the times, but the Pandora's Box they open in no way 'explain', but sets free, as Chabot ruefully recognises.This is all significantly gendered as men try to control and explain a woman who darts gleefully through history, place, morality, while barely taking a break. As ever with Minnelli, the celebration of artifice only reveals how repressive real-life is, and his satire is cutting if you care to look. This is an undervalued, joyous, sad coda to one of Hollywood's greatest careers Minnelli would go on to make only one more movie , as full of invention and love as his first film, CABIN IN THE SKY. The music is fine, with little of the heartache as GIGI or fun of MY FAIR LADY. Montand is charming in a thankless role, but Barbara Streisand - and, God help me, I never thought I'd say this - is an absolute joy in a double treble? role, especially convincing in saucy period dress, yet, moving when she needs to be.
Based on the marginally successful 1965 Broadway musical with book and lyrics by Alan Jay Learner and a solid score by Burton Lane, the 1970 ON A CLEAR DAY YOU CAN SEE FOREVER was no box office disaster--but it was a disappointment, failing to draw a broad audience and performing much more poorly than any one had imagined. This is a pity, for although it cannot be classed among the truly great musical musicals it is nonetheless a very good one, imaginatively filmed and beautifully performed.The story concerns a scatter-brained young woman named Daisy Gamble Barbra Streisand who is desperate <more>
to quit smoking and who lays siege to a noted hypnotist Dr. Charbot Yves Montand. But it happens that Daisy, for all her goofiness, is unexpectedly gifted: she can find lost items, she knows when the telephone will ring--and once under hypnosis she stuns Charbot by transforming into Melinda, a woman who lived, loved, and died more than a century before.The cast is superior. Streisand is memorably fresh in the role of Daisy and performs her numbers with remarkable youthful zeal and a flawless artistry; she is a tremendous amount of fun to watch and an endless pleasure to hear. Although it seems many Americans fail to see the appeal of the great French singer and actor Yves Montand, he handles his songs with the same world-weary style that first brought him to the attention of the legendary Edith Piaf--and it proves a remarkably effective foil for Streisand, setting off her expansive performance to perfection. The remaining cast, which includes a very young Jack Nicholson and Bob Newhart, is equally fine.This was the last musical for Vincent Minnelli, perhaps the greatest director of golden age musicals and creator of such films as MEET ME IN ST. LOUIS, and he endows the film with his very elegant eye; the "past life" sequences, in which designer Cecil Beaton had a hand, are particularly beautiful. Add in such beautifully orchestrated and performed songs as "It's Lovely Up Here," "Come Back To Me," and the title piece--and when all is said and done ON A CLEAR DAY is a very enjoyable film indeed.The film was originally intended to be released in a three hour version--but in the wake of several box office disasters for large scale musicals both Minnelli and the studio thought better of it and cut the film significantly. It would seem these scenes are gone forever, and more's the pity. Still, this no-frills DVD release offers a best-possible print in terms of both sound and picture, and both long-time fans and newcomers will adore it. Recommended.Gary F. Taylor, aka GFT, Amazon Reviewer
"What wizardry and voodoo you can do!" (by moonspinner55)
Reincarnation musical-comedy from director Vincente Minnelli has kooky, chain-smoking Barbra Streisand revealing an extravagant past life while under hypnosis. I rather liked Yves Montand's itchy, hesitant, scowling performance as Dr. Marc Chabot, falling for Barbra's past incarnation but abhorring her modern-day Daisy Gamble. Critics at the time totally dismissed Montand, yet he's almost charming while fighting with Daisy on her rooftop or singing, "Thees ees ah dweem, Meelinduhhhh..." Streisand is sultry in the film's best sequence, decked out in a white, bejeweled <more>
turban while the soundtrack plays "Love With All The Trimmings", and she's very cute dishing with Jack Nicholson, playing her ex-step-brother. "On a Clear Day You Can See Forever" is, like its title, a bit long and cumbersome, yet it has grand designs and color and features several bright songs. Nicholson with the hilariously bland name of Tad Pringle! is amusingly out-of-it and Larry Blyden is a hoot as Daisy's anal-retentive fiancé. Good show! *** from ****