On a Clear Day You Can See Forever is a 1970 American musical comedy drama fantasy film starring Barbra Streisand and Yves Montand and directed by Vincente Minnelli.

At the behest of her mainstream conservative fiancé Warren, scatterbrained five-pack-a-day chain smoker and clairvoyant Daisy Gamble attends a class taught by psychiatrist Marc Chabot for help in kicking her habit.

While undergoing hypnosis, it is discovered she is the reincarnation of Lady Melinda Winifred Waine Tentrees, a seductive 19th century coquette who was born the illegitimate daughter of a kitchen maid.

When she returns for a final meeting with him, she mentions fourteen additional lives, including her forthcoming birth as Laura and subsequent marriage to the therapist in the year 2038.

Paramount Pictures originally intended the film to be a nearly three-hour-long roadshow theatrical release, but executives ultimately had Minnelli cut nearly an hour from the running time.

In A Hundred or More Hidden Things: The Life and Films of Vincente Minnelli (Da Capo Press, 2010), author Mark Griffin examines the excised scenes, including a song entitled "People Like Me".

Stills of [Barbra] Streisand wearing a futuristic outfit at the Central Park Zoo have surfaced, offering what appears to be a tantalizing glimpse of this deleted sequence.

[7] In his review in The New York Times, Vincent Canby called it "a movie of fits and starts" and added, Gene Siskel of the Chicago Tribune gave the film three-and-a-half stars out of four and declared it "a musical to see more than once, if not forever.

"[10] Tom Milne of The Monthly Film Bulletin expressed disappointment that "two of the best and liveliest songs in the show," "On the S.S. Bernard Cohn" and "Wait Till We're Sixty-Five," were not included in the final cut of the movie.

"[11] TV Guide rates the film 2½ out of a possible four stars and comments, "[It] boasts great sets and costumes, but its script leaves much to be desired, and even the usually reliable Vincente Minnelli is unable to inject much life into the proceedings.

"[12] Time Out London says: "Minnelli is able to decorate his material with beguiling visual conceits – the opening time-lapse photography, the colour contrasts between past and present.