IMDb > On a Clear Day You Can See Forever (1970)
On a Clear Day You Can See Forever
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On a Clear Day You Can See Forever (1970) More at IMDbPro »

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Overview

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6.7/10   2,513 votes »
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Director:
Writers:
Alan Jay Lerner (play)
Alan Jay Lerner (screenplay)
Contact:
View company contact information for On a Clear Day You Can See Forever on IMDbPro.
Release Date:
17 June 1970 (USA) See more »
Tagline:
Look into my eyes.
Plot:
Daisy Gamble, an unusual woman who hears phones before they ring, and does wonders with her flowers... See more » | Add synopsis »
Plot Keywords:
User Reviews:
A few clouds in that clear sky! See more (44 total) »

Cast

  (in credits order) (verified as complete)

Barbra Streisand ... Daisy Gamble

Yves Montand ... Dr. Marc Chabot

Bob Newhart ... Dr. Mason Hume
Larry Blyden ... Warren Pratt

Simon Oakland ... Dr. Conrad Fuller

Jack Nicholson ... Tad Pringle

John Richardson ... Robert Tentrees
Pamela Brown ... Mrs. Fitzherbert
Irene Handl ... Winnie Wainwhisle

Roy Kinnear ... Prince Regent
Peter Crowcroft ... Divorce Attorney
Byron Webster ... Prosecuting Attorney
Mabel Albertson ... Mrs. Hatch
Laurie Main ... Lord Percy
Kermit Murdock ... Hoyt III
Elaine Giftos ... Muriel

John Le Mesurier ... Pelham
Angela Pringle ... Diana Smallwood

Leon Ames ... Burt Clews
Paul Camen ... Millard
George N. Neise ... Wytelipt (as George Neise)
Tony Colti ... Preston
rest of cast listed alphabetically:

Jeannie Berlin ... Girl in Orphanage (uncredited)
Fiona Curzon ... (uncredited)

Richard Kiel ... Blacksmith (uncredited)
Judith Lowry ... (uncredited)

Directed by
Vincente Minnelli 
 
Writing credits
(in alphabetical order)
Alan Jay Lerner  play
Alan Jay Lerner  screenplay

Produced by
Howard W. Koch .... producer
 
Original Music by
Nelson Riddle (uncredited)
 
Cinematography by
Harry Stradling Sr.  (as Harry Stradling)
 
Film Editing by
David Bretherton 
 
Production Design by
John DeCuir  (as John De Cuir)
 
Set Decoration by
Raphael Bretton 
George James Hopkins  (as George Hopkins)
 
Makeup Department
Fredrick Glaser .... hair stylist: Miss Streisand
Harry Ray .... makeup supervisor
 
Production Management
Sergei Petschnikoff .... unit production manager
Howard Roessel .... unit production manager
 
Second Unit Director or Assistant Director
William McGarry .... assistant director
John M. Poer .... trainee assistant director (uncredited)
William R. Poole .... assistant director (uncredited)
 
Sound Department
Elden Ruberg .... sound recordist
Ben Winkler .... sound recordist (as Benjamin Winkler)
 
Camera and Electrical Department
John Nash Ott Jr. .... time-lapse photographer (as John Ott)
Maurice Gillett .... gaffer (uncredited)
 
Costume and Wardrobe Department
John A. Anderson .... wardrobe: men (as John Anderson)
Cecil Beaton .... period costumes
Arnold Scaasi .... contemporary costumes
Shirlee Strahm .... wardrobe: women
 
Music Department
Joseph J. Lilley .... choral arranger
Nelson Riddle .... conductor
Nelson Riddle .... music arranger
Nelson Riddle .... music supervisor
Betty Walberg .... music arranger: dances
Betty Walberg .... vocal arranger
 
Other crew
Wayne Fitzgerald .... title designer
Howard Jeffrey .... choreographer
Walter Kelley .... dialogue coach
Arnold Scaasi .... contemporary clothes: Miss Streisand
Ron Bareham .... production accountant: UK (uncredited)
Mollie Kent .... continuity (uncredited)
 

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Additional Details

Also Known As:
Runtime:
129 min
Country:
Language:
Color:
Color (Technicolor)
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
Certification:

Did You Know?

Trivia:
The film's soundtrack album was the poorest-selling of Barbra Streisand's career.See more »
Goofs:
Plot holes: An hour and twenty in Daisy (as Melinda), after Chabot speculates that she can see into the future, says "I can about certain things, but never, never about myself". But at about the two hour mark, Daisy says she and Marc were married in 2038.See more »
Quotes:
Daisy Gamble:I'm an addict! I'm an addicted addict! I can't stop unless somebody like you can make me.See more »
Movie Connections:
Soundtrack:
Love With All the TrimmingsSee more »

FAQ

This FAQ is empty. Add the first question.
10 out of 15 people found the following review useful.
A few clouds in that clear sky!, 11 July 2003
Author: Greg Couture from Portland, Oregon

This is one of those films that one would like to praise without reservation, but, alas!, some elements are not quite up to the high level of some of its attributes.

Streisand, after that stunning title montage (Love those blooming flowers and the clever lyrics that coax them into the sunshine!) is a bit grating in her opening scenes as Daisy Gamble, though she mellows somewhat as the modern-day plot progresses. However she more than rises to the occasion when Melinda is exhumed and she gets to parade about in Cecil Beaton's absolutely stunning accoutrements. Montand, who seems to have learned his lines phonetically (A foreign accent can be charming but he seems to be exaggerating his!), is serviceable, sings on key, and manfully wades through the machinations of the scriptwriters, what with the absurd brouhaha over reincarnation among the university's powers-that-be and Dr. Chabot's stubborn reluctance to admit that Daisy has psychic powers, et cetera. John de Cuir does his usual eye-filling wonders with the production design, beautifully aided by Harry Stradling, Sr.'s use of the Panavision/Technicolor cameras. And, of course, Burton Lane's score has a few liltingly listenable songs that propel the story quite felicitously. And there's the bonus of two of my favorite actresses, Mabel Albertson and Irene Handl, to add some sly support. (And, one must reluctantly mention Jack Nicholson, youthfully handsome in his brief appearance here, now a gothic ruin of his former self...Must be all those ill-tempered characters he's since played, as well as the reported off-screen dissipation in the decades since.)

But Nelson Riddle, undeniably one of the all-time great arrangers for singers like Frank Sinatra and Ella Fitzgerald, seems the wrong choice to orchestrate and conduct the musical elements. His work seems a little thin and not equal to the lush visual panoply. And, I suspect, Vincente Minnelli was hampered by the producer, Howard Koch, whose credits suggest a level of taste and achievement more oriented to audiences that preferred something less refined than what might have best suited this enterprise. The direction seems a bit diffuse, and even dispirited, and certainly not up to the standard of Minnelli's best in his halcyon days at Metro-Goldwyn-Mayer.

Nevertheless, I'll admit I enjoyed it when I saw it during its theatrical release, but beware of non-letterboxed video transfers. "Formatting" will reduce this one to considerably less than its makers intentions. If a DVD release comes along and you're a Streisand (or Minnelli) fan, it'll be worth the wait.

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