On a Clear Day You Can See Forever-1970
Starring-Barbra Streisand, Yves Montand
Scott’s Review #921
Reviewed July 19, 2019
On a Clear Day You Can See Forever (1970) is a very obscure film that deserves better than to be relegated into the unknown. Released during a time when the Hollywood musical had lost its luster, it feels like a last gasp effort to keep the genre alive, serving as a star vehicle for Barbra Streisand. The film suffers from severe editing problems with a large portion being cut, so much so that the result is a choppy and disjointed feel, tough to follow as is but left untouched the film could have been a creative masterpiece.
In a particularly convoluted plot that spans two time-periods, chain-smoking New Yorker, Daisy Gamble (Streisand) is convinced by her uptight fiancee Warren (Larry Blyden) to attend a class taught by Marc Cabot (Yves Montand), a psychiatrist. When she is accidentally hypnotized by Cabot he realizes she speaks in the voice of an early nineteenth-century woman named Melinda, as he becomes obsessed with her while she teeters between two existences.
The screenplay was written by Alan Jay Lerner, adapted from his book for the 1965 stage production. Film director Vincente Minnelli fuses fantasy with a musical to create an experimental piece extremely left of center- this is not your standard 1950’s or 1960’s MGM experience with merry or clap-along tunes. Some of the more memorable numbers include “On a Clear Day” which is a reprise at the end of the film, “He Isn’t You” and “Love with All the Trimmings”.
Casting Streisand is a monumental choice as she carries the film on her shoulders. Belting out numbers is the singer turned actresses forte and she never disappoints. She is fascinating to watch in the neurotic role as she smokes and prances around, usually in a tizzy or in a state of peril (self-induced). The performance impresses as a different style than many of her other films and she has never portrayed a livelier character. Streisand overcomes a few challenges of the film, winning in spades.
She shares little to no chemistry with co-star Montand who is not only too old for her, but he is not the greatest actor either. If the film’s intent, which I suspect, was to make the pair the main draw then this failed. Streisand’s chemistry with John Richardson, who plays Sir Robert Tentrees to her Melinda in the other time-period, excites. The duo smolders with passion but sadly, most of the nineteenth century scenes are the ones that are sacrificed making most of it a jumbled mess. Much more interesting would have been to leave the entire film intact.
An oddity is Jack Nicholson’s almost nonexistent role of Tad Pringle, a mostly non-described brother of Daisy’s. Is he also her neighbor? In 1970 Nicholson was only on the cusp of super-stardom and questionable is whether some of his role was left on the cutting-room floor, but the limited character is strange and unsatisfying. In another role there would have been some possibility of a romantic entanglement.
Throughout the duration of the film I wondered how On a Clear Day You Can See Forever might have worked with someone other than Streisand in the roles. I kept ruminating how good Liza Minnelli might have been in the roles with her non-classic looks (like Streisand) and bombastic voice. Her high dramatic flair and capable New York style would have made results interesting, but Streisand hits it out of the park.
On a Clear Day You Can See Forever (1970) is a brave attempt at something fantastical, brimming with potential that is left feeling cluttered and messy. With a delicious leading lady whom the camera adores and enough creative sets and rigorous energy to keep one guessing, the film stumbles with many problems and leaves viewers incomplete.