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   2,336 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:
Masterly coda to one of Hollywood's greatest careers. See more (42 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)
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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:
Average Shot Length (ASL) = 7.7 seconds (fast for a Vincente Minnelli film)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:Comes the dawn, I may not feel the same.
Daisy Gamble:[conscience] Comes the dawn, he may not know your name.
Daisy Gamble:In the sunlight, who can see a flame?
See more »
Soundtrack:
What Did I Have That I Don't Have?See more »

FAQ

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30 out of 35 people found the following review useful.
Masterly coda to one of Hollywood's greatest careers., 12 June 2000
Author: cissy caffrey (hitch1899_@hotmail.com) from dublin, ireland

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 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.

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