This lesser-known of Ms. Streisand's musicals will gradually pull you in, just as Dr. Chabot is gradually pulled into belief in Melinda. This is one of the few musicals I actually enjoy and l have have viewed many times. The songs support and advance the plot, instead of the usual bursting into song about something that has already been stated. Two of my favourite scenes are the breathtaking Royal Pavilion in all its Recency decadence and the song "Come Back to Me." Miss Gamble shouting "Shut up!" at the end of that number I think very humorous. I rated this film a 9 instead of a 10 because, though I admire M&s. Streisand's attempts, her Cockney accent is none too good. Her Received Pronunciation is better. So, some dull Sunday afternoon, give this nice little film a chance.

I saw this film on its first release, then immediately bought the soundtrack album. The songs, by Lerner and Lane, still stand up. I don't think the film was very successful. Vincent Canby of the New York Times gave it a lackluster review that had little to criticize about it or its star; just vague insinuations of disappointment.Barbra Streisand had shined in "Funny Girl" and then taken a less stellar, though titular role, in "Hello Dolly!" "On a Clear Day" was the third stage-to-screen role to get the Streisand treatment. She plays a young woman, Daisy Gamble, with supernatural gifts, like premonition, telepathy and the ability to grow flowers with amazing speed. She convinces a professor to use hypnosis to cure her of her smoking habit. Yves Montand feels miscast as the academic who falls under her spell, but I have trouble thinking of a more suitable actor for the role. Robert Goulet comes to mind.As the professor works with his willing subject, she regresses to reveal an unexpected past. Thanks to Director Vincent Minelli, Streisand's exotic beauty is fully realized. Some wonderful costuming helps complete the transformation.Streisand's comedic abilities should not be overlooked. As she did in "Funny Girl" and would later do in "They Way We Were", she can combine self-deprecating humor and an unexpected beauty very convincingly.The film suffers somewhat from a weaker third act, but remains engaging. The music and Streisand's vocalizations remind us that no one else has done more to keep the musical genre alive during this era.With better editing and a few tweaks this could have been a superior film, but it is still worth seeing.

First of all I'd like to say I'm no great lover of Barbara Steisand's work so I even surprised myself that I would want to view another of her films. Perhaps I was charmed by the title "On a clear day you can see forever" which has a certain magic about it.I once knew a gardener who talked to his plants and we have all had odd experiences concerning a telephone call or a knock at the door or meeting a long lost friend. i suppose you would call them premonitions and quite unexplainable. So Daisy Gamble with her cigarette addiction as well was not so different from the rest of us and she had enough sense to seek psychiatric help.Flashbacks in the film added a welcome degree of variety because for me the film lacked sparkle and at times was on the edge of boredom. At times I was wondering how much longer the film would continue because it was beginning to feel rather drawn out. In a really good film you are craving for more.I think the songs were a really great let down. None of them was particularly catchy, a tune that would stay with you for the next few days or so. I can understand why the original Broadway production was not an outstanding success.The actors in this film seemed somewhat tired and disinterested. As a comparison check out once more "Hello Dolly" with an enthusiastic cast and great vocals and you'll see what i mean.

In some ways I felt like I enjoyed this movie in spite of myself, or itself. Equally drawn to the film by my admiration of the director Vincente Minnelli and repulsed by its leading lady Barbara Streisand, I find that in the end neither artist contributed his/her best or worst work, and that the whole package itself is mostly lacking in the necessary charm. Yves Montand presents far more problems than Miss Streisand, and Minnelli trips over his own staging to try to make the modern sequences all too modern and the historical sequences all too romantic.Streisand plays Daisy Gamble (a name only a musical comedy doyenne could possibly be saddled with), a young would-be wife who comes to a college psychologist (Montand) in hopes that he can use hypnotism to cure her excessive smoking habit. Instead, the good professor uncovers a whole past life involving a seductress called Melinda, a persona whom the professor promptly and unconvincingly falls in love with.At first it seems refreshing to have Minnelli directing this movie, with his gloriously excessive bouquets conjured up to bring some portion of artificial magic to Daisy's wistful rooftop escape. His style quickly becomes overbearing, especially since he seems to have little taste or comfort with the modern settings and styles he's using. His use of the zoom lens, the only time I can remember him using it, is garish and obvious. An ascending helicopter shot of Montand warbling atop the Pan Am building only manages to distance us from any possible emotion that could be squeezed from his continental charmer. Only in the historical sequences with their incredibly elaborate costuming and real location shots of the Brighton pavilion, does Minnelli momentarily come alive, to live again in the romantic past for one more brief moment.Montand is the glaring problem with the film. His character is completely unappealing and the way he plays him makes it much worse. The more we see of him, the less we appreciate him or can understand why Gamble is becoming infatuated with him. Likewise it's hard to see why Montand is becoming fascinated with the past life Streisand. His whole scheme is very underhanded, since he hasn't told Gamble that he's been recording all her sessions or that he's investigating a past life at all. His motives are supposed to be cleared up thanks to a series of distracting conferences with a professorial colleague oddly played by tough-guy character actor Simon Oakland.When the "good professor" becomes desperate to get Gamble back on his couch and begins sending her psychic messages to "Come Back to Me", the result is less romantic than stalking. Psychic stalking -- it's something that belongs more in a Phillip Dick nightmare sci-fi story than a musical comedy. It's hard to not get a really bad taste in your mouth, especially since the film-makers have already provided a suitably obvious and suitably compatible well, uh, suitor in the person of Daisy's ex-brother-in-law played by Jack Nicholson. We first see Jacko on the roof brazenly strumming his sitar, as if he walked out of the J.C. Penney catalog of hippies. Made-to-order hippy Jack Nicholson apparently got a solo but it was cut when a decision was made not to roadshow this film. Thus even the film's relatively satisfying conclusion seems to be drawn in abstract lines, thanks to Minnelli's liberal style of shooting and the subsequent edits that cripple the film's continuity.As for Miss Streisand herself, she does her best to play the character in a rather sophisticated way but is often undone by her own energy. I didn't feel that she carried off the multiple characters particularly well, and in her solo numbers she heaves and bellows through without any hint of real human vulnerability. She has some good moments as Daisy, but in the Melinda personality she's outclassed by her own headgear.The film itself doesn't really ever rise to the level of its ambition. What should be a fun evening of musical comedy becomes a mere distraction. The story and its characters never really become anything human or convincing. A stifling aura of artfulness prevents the film from taking off -- it's as if all the performers and the director are standing a few feet away from the film they're making. Montand barely seems to know what movie he's in. Lerner and Lane's songs are ponderous and barely memorable. The story itself seems to revisit Lerner's past artistic life, with its Henry Higginsesque professor remonstrating himself and mistreating his naive leading lady in a way that strangely manages to evoke absolutely none of the charm that lifted his Fair Lady above the fray. The film is saved from outright artistic failure thanks to a few imaginative sequences staged by Minnelli, Nicholson's goofy and fun cameo, and a few moments of inspired clowning by Streisand.