One clear day
Standards - the virtual entirety of the Eydie Gorme, Robert Goulet, Jack Jones songbook - came from But of those that remained, who knew that so many of my parents’ favorite Many of the songs from the original score had been excised and a few new ones written just for the film. The other thing that grabbed me was the music. Personally, I didn't want Daisy to end up with ANY of her suitors. The film's score (among my favorites) is lushly romantic, but the film itself (a protracted, metaphysical cockblock) has been cast and directed in such a fashion as to render all potential romantic couplings undesirable. The rooftop set and cast assembled for the Wait Till We're Sixty-Five production number that was filmed (and showed up on promotional stills) but cut out of the completed film They gradually fell out of favor in the late 70s. These films were habitually 2 ½ to 4 hours long. *Roadshow: A popular distribution method for “event” films in the 60s, roadshow films were higher priced, reserved-seat screenings with overtures, intermissions, and exit music.
#One clear day movie
Nor does it account for production values which would have looked dated in 1965 the curious choice of not having Streisand (a great comedienne) interact with any of the comic supporting actors (that's left to Montand, who sucks the laughs out of every scene) or the head-scratchingly weird decision to remove all of the score's liveliest and peppiest numbers (and this movie could use all the pep it can get) leaving only the melodic ballads. But this doesn't fully explain On a Clear Day You Can See Forever saddling itself with a leading man so thuddingly dull that the film loses all romantic longing. Conceived as a roadshow*įorever bears the brunt of the many songs, scenes, and subplots excised in the interest of whittling the film down to a marketable running time. (or, as transposed by critic Rex Reed per Montand's French accent, "Cum Buck Dooo Meee!")Īs it turns out, On a Clear Day You Can See Forever did indeed undergo a prodigious amount of cutting before release. Here, Yves Montand stands atop the Pan Am Building imploring Daisy to "Come Back to Me" On the rare occasions Minnelli ventures out of the studio, good use is made of the film's New York locations. (Not the kind of fine-tuning editing necessary to sharpen a film, but the kind of butchering needed to cut a proposed 3-hour roadshow musical down to a little over 2-hours.) A result, no doubt, of the movie being the victim of a great deal of editing. Instead of creating the impression that time is cyclical and that the past and present are spiritually interlinked On a Clear Day You Can See Forever frequently just feels like two separate films vying for screen time. Structurally, the film is designed to contrast the past and present, but this duality transfers somewhat schizophrenically in the combined efforts of the set designers, costumers, and especially the actors. Lyrical, and sometimes breathtaking but it frequently feels like we're watching the combined efforts of artists assigned to do their work in isolation - without an awareness of what others are doing. The film is, at turns, out and out funny, whimsical, stylish, The overall result is a charming musical that is nevertheless strangely choppy and uneven in tone. It's not unusual for women to develop crushes on older men, but the near 20-year age difference between Streisand and Montage did nothing to help the pair's already staggering lack of chemistry Fuller (Simon Oakland), who exists solely to provide Montand's character an opportunity to engage in a windy reincarnation debate. Meanwhile, too much screen time is allocated to a wholly expository character like Chabot's colleague, Dr.
#One clear day series
The obviously truncated Jack Nicholson subplot goes absolutely nowhere, Daisy's own relationship with Warren feels like a series of blackout skits, and I would have loved to have seen more of Leon Aames, the father from Minnelli's flawless Meet Me in St. In fact, there's so much going on, several aspects of the film feel as though they are shunted to the sidelines or neglected outright.
#One clear day plus
Two, possibly three, romantic triangles (a hexagon, I suppose:Ĭhabot/Daisy/Melinda & Warren/Daisy/Tad) a college scandal plus time out to squeeze in several musical numbers.
The sumptuous Regency period to sort out the whys and wherefores of Melinda's untimely death at least
That's quite a lot going on, what with showy fantasy flashbacks to