Protraph Lack of good storyline.

Mjeteconer Just perfect...

Moustroll Good movie but grossly overrated

Deanna There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

atlasmb 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.

clanciai Vincente Minnelli's direction is as impressing as the performances of Barbra Streisand and Yves Montand - everything is perfect, and especially the script by Alan Jay Lerner, the man behind all the greatest American musicals through three decades, like "My Fair Lady", "Gigi", "Camelot", "Paint Your Wagon" and so on. Even the music is outstanding, by the uncredited Nelson Riddle, enhanced by Barbra Streisand's fantastic musicality, and Yves Montand sings as well. In brief, many ingredients of superior quality make this film far ahead of its time, importantly spiced by Streisand's very personal and irresistible humour - and even a bit of Jack Nicholson. There is almost any number of unforgettable highlights - the roulette scene is just a small hint - in something that almost amounts to the reincarnation revolution as a hilarious social satire.

mrsastor In a lot of ways this film points out exactly what is wrong with the musical genre in my opinion.Here we have a very entertaining story, the Daisy Gamble character is fascinating (although it is absolutely implausible that Daisy would have ever been engaged to a yutz like Warren), but the entire production would have been immensely better with all of the songs removed. Ms. Streisand's opening and closing songs are fine, but the majority of the songs within the movie are terrible and only disrupt and distract from what is otherwise a cute story. Yves Montand's songs are particularly dreadful, even his swear-word strewn finale' "Come Back To Me" is regrettable. Whoever told him he could sing?! If you can overlook the terribly annoying songs (just fast forward, when people stop flailing their arms about, they're usually through singing), it's really fun movie.

writers_reign It would be easy to dismiss this as The Three Faces Of Eve with songs but it is, actually, a little more than that. Alan Lerner had a lifelong interest in ESP and toyed with the idea of basing a musical on it for years before finally getting around to it in the mid sixties more or less a full decade after My Fair Lady. The Broadway version failed to find its audience but was jam-packed with great numbers (Lerner was again working with Burton Lane with whom he wrote one of the all-time great ballads, 'Too Late Now' for the MGM movie Royal Wedding) most of which the producers have seen fit to jettison leaving the leading man only three numbers but the film is, nevertheless, interesting if only for the chance to see and hear the great Montand working in English. Montand, who learned English late in life, made several films in the English language none of them really satisfactory and whilst at one level the antipathy of most of the posters here is understandable one can't help feeling they are lacking in sensitivity inasmuch as the charm and shining talent of the man are obvious even in a vehicle tailored to his co-star as is this. Streisand is certainly adequate and with Minnelli at the helm she is both costumed and photographed to full advantage but by 1970 sophisticated lyrics like those in What Did I Have were wasted on if not bewildering to an audience educated in punk rock. Despite what the nay-sayers think Montand was worth every dime of the (for the time) silly money that enticed him to cross the Atlantic. Maybe not one to buy (unless you rate even minor Montand as I do) but certainly one to rent.