Barbra Archives ON A CLEAR DAY pages

Opened June 17, 1970

On A Clear Day Poster

“On A Clear Day” Credits

  • Directed by Vincente Minnelli
  • Produced by Howard W. Koch
  • Cinematography by Harry Stradling
  • Costume Design by Arnold Scaasi (contemporary clothes) & Cecil Beaton (Regency costumes)
  • Edited by David Bretherton
  • Time Lapse Photography by John Ott
  • Hair stylist for Miss Streisand: Fredrick Glaser
  • Music by Burton Lane
  • Screenplay and Lyrics by Alan Jay Lerner
  • Music Arranged & Conducted by Nelson Riddle
  • Vocal-Dance Arrangements: Betty Walberg
  • Choral Arrangements by Joespeh J. Lilley
  • Choreography: Howard Jeffrey
  • Production Design by John De Cuir
  • Title by Wayne Fitzgerald/Universal Title
  • Original aspect ratio: 2.35:1
  • Sound Mix: Original film: Mono ... DVD: 5.1 Stereo Surround + Mono
  • Runtime: 129 minutes
  • MPAA Rating: G
  • Cast:

  • Barbra Streisand .... Daisy Gamble / Melinda
  • Yves Montand .... Dr. Marc Chabot
  • Bob Newhart .... Dr. Mason Hume
  • Larry Blyden .... Warren Pratt
  • Simon Oakland .... Dr. Conrad Fuller
  • Jack Nicholson .... Tad Pringle
  • John Richardson .... Robert Tentrees
  • Pamela Brown .... Mrs. Fitzherbert
  • Irene Handl .... Winnie Wainwhisle
  • Mabel Albertson .... Mrs. Hatch
  • Jeannie Berlin .... Girl in orphanage
  • Richard Kiel .... Blacksmith

Order the On A Clear Day DVD, The Films of Barbra Streisand book, or the CD Soundtrack at by clicking the thumbnails below:

On A Clear Day DVD Films of Barbra Book Clear Day CD

Barbra Streisand’s third film, On A Clear Day You Can See Forever, was described in Paramount's production notes as a “delightful combination of comedy, drama, fantasy and music. The film deals with a psychiatrist who becomes professionally and emotionally involved with a remarkable girl patient, who possesses extrasensory powers and relives, under hypnosis, an earlier incarnation.”

On A Clear Day was based on the Broadway show that ran October 1965—June 1966 starring Barbara Harris and John Cullum, which was originally titled I Picked A Daisy.

(Pictured below: Alan Jay Lerner, Barbara Harris, John Cullum and Burton Lane)

The Clear Day Broadway team

Alan Jay Lerner (who wrote the book and the lyrics for the play; Burton Lane wrote the music) continuously tinkered with the show, even after it closed, eliminating characters and adding or subtracting songs. (Incidentally, Alan Jay Lerner received amphetamine shots from Dr. Max Jacobson—“Dr. Feelgood”—while he wrote Clear Day, which may explain its weirdness — how many other musicals that you know of concern themselves with reincarnation and ESP? )

Clear Day cast and crew on Paramount lot

Director Vincente Minnelli recalled, “It was mystical and Lerner has been interested in that since he was a child. He was trying to say something, I dug into the story and that was what came out. Lerner had read all these books and followed the fantasy as he saw it completely. I didn’t subscribe to it, not at all.”

Developing “Clear Day”

Newspaper announcing film rights sold

Paramount Pictures reportedly paid $750,000 for the film rights to the Alan Jay Lerner-Burton Lane musical in 1966.

Paramount announced in April 1967 that Vincente Minnelli would direct Clear Day.

Producer Howard W. Koch made some changes transferring On A Clear Day from the Broadway play to a film.

Alan Jay Lerner revised his original story.

Director Vincente Minnelli requested that the regression sequences be changed from a Restoration to a Regency setting. He told writer Henry Sheehan, “I felt that was what was wrong with the play. It was white wigs and writing with feathers which gets to be very boring. I wanted to make it Regency, because the world was more inviting. That’s particularly why we changed it. Then I wanted to come in on a climax where she didn’t know what was happening and it was explained later on. Whereas it couldn’t matter less in the play.”

Several songs from the Broadway show were not used in the film version. Several new ones were added (and then cut! ... keep reading to find out all about them).

Arnold Scaasi was brought on board to create modern costumes for the film; Cecil Beaton would fashion Streisand's regression wardrobe.

(Below: This item, identifying Neal Hefti as the film's music director, appeared in the Dec. 28, 1968 edition of Billboard.)

Hefti Billboard item

Neal Hefti (Batman title theme, The Odd Couple movie, Barefoot in the Park) was hired as music director for the film. The Nov. 4, 1968 edition of The Hollywood Reporter announced: “Neal Hefti has been signed by Howard W. Koch to to arrange and conduct Paramount's On a Clear Day You Can See Forever.”

By December 1969 (when this item appeared in newspapers), Hefti had been replaced by Nelson Riddle.

Riddle announced as music director

Producer Howard Koch remembered that “[Barbra] and Nelson were like a team from the time we switched.”

Several male stars were considered for the role of Dr. Chabot, the musical's male lead. The late Richard Harris (Arthur in the film version of Lerner and Loewe’s Camelot) was one of them. “Lerner and Streisand stitched me up,” he explained. “They wanted it their way. Lerner never liked my singing, and he took out the best songs from the original Broadway show. Streisand wanted to be Queen Bee. I told her to bark up someone else’s tree.”

Harris was attached to the project late-1967 into 1968.

It was announced August 1968 that Yves Montand, 47 years old, who starred with Marilyn Monroe in Let’s Make Love, would appear opposite Streisand in the film.

(Below: Streisand and Minnelli during rehearsals for the film.)

Streisand and Minnelli talk about the film

Producer Howard Koch talked to the L.A. Times in early December 1968. “The picture is in rehearsal just now and slightly ahead of schedule. My friend Miss Streisand must leave for a week soon after we start shooting Jan. 6. She's committed to go to London and Paris for the openings of Funny Girl. It was difficult to plan, especially at the beginning of the picture. In that week, we plan to shoot all the scenes she's not in.”

Streisand seemed in good spirits during rehearsals. “He can do anything in his quiet way,” she said about Koch. “The tape recorder I use to learn lines broke and within an hour he delivered a new one. I called him up to ask how he did it. It was after 5. Who's still open? I couldn't figure out how he did it.”

Rehearsing with Minnelli and music staff

(Rehearsing a CLEAR DAY song. From left to right: Director Minnelli, producer Koch, music assistant Susan Savage, lyricist ALAN JAY LERNER, Streisand, vocal-dance arranger Betty Walberg [seated], and Yves Montand.)

It was reported in early January 1969 that Streisand and Montand recorded their numbers for the movie at Paramount Studios in Hollywood in one day, in afternoon and evening sessions.

In this audio interview, below, Streisand is questioned at the recording session for “Wait Till We're 65”—the orchestra keeps interupting the interviewer. Streisand mentions a line from a scene in the movie, which was eventually cut. She's referring to this one.

In 1969, right before filming began on January 6th, Paramount threw a “Reincarnation Ball” party at the Beverly Hilton Hotel. Celebrity guests were encouraged to dress as the person they would have liked to have been—in a past life! Streisand came as Colette, the French writer, dressed in a white lace dress and curly wig.

Streisand at Reincarnation Ball

(Above, clockwise: Streisand and muff; Sue Mengers, Fred Glaser, and Barbra; Streisand and Clint Eastwood.)

Reincarnation Ball photos


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