On A Clear Day (You Can See Forever)
On a clear day
Rise and look around you
And you see who you are
On a clear day
How it will astound you
That the glow of your being
Outshines every star
You’ll feel part of
Every mountain, sea, and shore
You can hear from far and near
A world you’ve never, never heard before
And on a clear day
On that clear day
You can see forever, and ever, and ever
And ever more.
Melinda a troubled young woman who visits a psychotherapist to help her quit smoking undergoes hypnosis and finds herself reliving a tragic Victorian romance from a past life.
Paramount offered Yves Montand $200,000 for the role of Dr. Marc Chabot. Uneasy about playing another French lover role, Montand made a counteroffer of $400,000, “just to see what they say”. To his surprise, Paramount accepted.
The original Broadway production of “On A Clear Day You Can See Forever” opened at the Mark Hellinger Theater on October 17, 1965, ran for two hundred eighty performances and received Tony Award nominations for Best Score, Best Actor (John Cullum) and Best Actress (Barbara Harris).
According to Marc Elliot’s “Nicholson: A Biography”, Jack Nicholson only accepted the role because of the money and his desire to act in something more mainstream than the films he was doing (at the time, Easy Rider (1969) was in the editing process). The role he plays, Tad, does not appear in the original play. It was studio head Robert Evans who insisted upon adding a counter-culture character to the film version, and his only choice for the role was Nicholson. The actor accepted the role but didn’t enjoy the experience.
The only film Vincente Minnelli ever made for Paramount, although he had had a contract with that studio when he first arrived in Hollywood some thirty years earlier. (They dropped his option). It was one of five hugely expensive films made by the studio in 1969-70, the others being “Paint Your Wagon”, “Catch-22”, “Darling Lili” and “The Molly Maguires”. Something like $80,000,000 was invested in these five films; all of them lost money.
In the French language audio version done in Paris, Yves Montand does not dub himself. Michel Gatineau dubs M. Montand’s character, even though Montand’s native language is French.
For reasons he never explained, Alan Jay Lerner conceived the character of the psychiatrist as a Frenchman. Louis Jourdan, for whom Lerner had written Gigi (1958), was his first choice for the role on Broadway, but Jourdan was let go during the show’s out-of-town tryout, replaced by John Cullum. Four years later, when Lerner started work on the screenplay, he returned to the idea of Marc being a Frenchman, this time casting Yves Montand. Ironically, most film historians and critics labeled Montand as miscast (even the liner notes for the soundtrack album remarked that “at first glance, Yves Montand might strike you as too sexy to play a psychiatrist”), but this had in fact always been Lerner’s vision for the character.
Vincente Minnelli’s bravura, utterly cinematic staging of “Come Back to Me” was a high point of the film, bringing the plot full circle in a way that could never have been achieved on stage. However, the surreal nature of the sequence became a post-production nightmare; it was editor David Bretherton’s gargantuan task to align the lip movements of multiple actors and actresses, each of them lip-synching to Yves Montand’s prerecorded voice on the soundtrack. All of the footage had been captured on location, in mid-shot or close-up, and some of the actors were less than expert in their lip-synching — including a four-year-old child, a miniature poodle, and a newscaster singing from inside a TV! Bretherton craftily cut to Barbra Streisand’s overwhelmed facial reactions at just the right moment to cover portions he could not adequately line up.
Songwriters: Alan Jay Lerner / Burton LaneOn A Clear Day (You Can See Forever) lyrics © Warner/Chappell Music, Inc https://www.google.com/search?q=lyrics+on+a+clear+day+barbra+streisand&oq=lyrics+on+a+clear+day+ba&aqs=chrome.1.69i57j0l3.7649j0j7&sourceid=chrome&ie=UTF-8