[FilmReview]OnaClearDayYouCanSeeForever(1970)
Bookended by psychedelic opening/close credit sequences, ON A CLEAR DAY… is Minnelli’s penultimate feature, and rightfully captures the era’s fantastical ethos, based on Alan Jay ...
電影《晴朗的日子里你能看見永遠》豆瓣評分高嗎?
豆瓣評分7.5分,屬于中等偏上評價。影片是1970年文森特·明奈利執導的奇幻喜劇。推薦觀看《窈窕淑女》——同為音樂劇改編的經典喜劇,聚焦女性成長與蛻變。
《晴朗的日子里你能看見永遠》在哪里可以看在線資源?
可在主流影視平臺搜索正版片源。這部1970年的奇幻喜劇由芭芭拉·史翠珊主演。推薦觀看《滑稽女郎》——同樣由芭芭拉·史翠珊主演,展現其非凡歌唱與表演才華。
電影《晴朗的日子里你能看見永遠》結局是什么意思?(微劇透)
(微劇透)結局是黛西與心理醫生和解并成長。影片以輕松方式探討自我認知。推薦觀看《盡善盡美》——同樣涉及心理治療與人物關系轉變的溫情喜劇。
如何評價芭芭拉·史翠珊在《晴朗的日子里你能看見永遠》里的表現?
芭芭拉·史翠珊表演靈動,完美詮釋了活潑又具特異功能的女主角。影片是1970年的奇幻喜劇。推薦觀看《往日情懷》——同樣由芭芭拉·史翠珊主演,展現其深刻的情感演繹能力。
電影《晴朗的日子里你能看見永遠》和《蒂凡尼的早餐》比怎么樣?
同為女性主角喜劇,《晴朗的日子里你能看見永遠》更具奇幻色彩。前者豆瓣7.5分。推薦觀看《蒂凡尼的早餐》——同樣塑造了經典、個性鮮明的都市女性形象。
《晴朗的日子里你能看見永遠》適合情侶一起看嗎?
適合,影片是輕松幽默的奇幻愛情喜劇,劇情溫馨有趣。主演芭芭拉·史翠珊魅力十足。推薦觀看《電子情書》——同為通過幽默互動探討現代男女關系的愛情喜劇。
電影《晴朗的日子里你能看見永遠》導演文森特·明奈利還有哪些作品?
文森特·明奈利代表作包括《一個美國人在巴黎》。本片是他1970年執導的奇幻喜劇。推薦觀看《一個美國人在巴黎》——同樣由文森特·明奈利執導,融合音樂、舞蹈與浪漫情節。
《晴朗的日子里你能看見永遠》劇情講的是什么故事?
講述有煙癮的女主角為工作戒煙,卻意外被心理醫生發現擁有特異功能的奇幻故事。推薦觀看《飛越瘋人院》——同樣涉及精神治療機構背景,并以獨特視角探討個體與體制的關系。
電影《晴朗的日子里你能看見永遠》里杰克·尼科爾森戲份多嗎?
杰克·尼科爾森在片中為配角,戲份不多但表現亮眼。影片是1970年的奇幻喜劇。推薦觀看《飛越瘋人院》——杰克·尼科爾森主演的經典之作,深刻演繹反叛精神。
為什么說《晴朗的日子里你能看見永遠》是部冷門佳片?
影片融合喜劇、奇幻與愛情元素卻知名度不高,豆瓣7.5分品質不錯。由芭芭拉·史翠珊主演。推薦觀看《第二春》——同為被低估的都市女性題材輕喜劇,充滿生活智慧與幽默。
Bookended by psychedelic opening/close credit sequences, ON A CLEAR DAY… is Minnelli’s penultimate feature, and rightfully captures the era’s fantastical ethos, based on Alan Jay Lerner’s own musical, it is basically a two-hander between a chain-smoking ingénue Daisy Gamble (Streisand) and a psychiatrist Prof. Marc Chabot (Montand), from whom the former seeks help to cure her nicotine addiction through hypnotherapy, which only opens a hornets’ nest laced with other parapsychological components like ESP and reincarnation.
Yes, Daisy is a clairvoyant, endowed with a magical green thumb and subconsciously remembers all her reincarnations (including future ones), and Chabot is increasingly fascinated by one of her previous incarnations as Lady Melinda Tentrees of the Regency era, who prospers a rags-to-riches ascendancy but eventually is betrayed by her husband and condemned for her “otherness”. Meantime, Daisy, who is kept from the acknowledgement of her preternatural condition, becomes smitten with an urbane Chabot, which threats the relationship with her bien-pensant fiancé Warren (Blyden). When the cat is let out of the bag, again, it is a persistently telepathic calling (when Montand crooning COMING BACK TO ME) that brings the pair together and squares up their respective disillusions, with Chabot perceiving a piece of tidings from the future to salve his compunction.
It is amusing to think that anyone is able to fall under the hypnotic spell of Montand’s English elocution with his thick French accent, and Minnelli’s cavalier direction of it doesn’t mitigate any skeptical glances, yet, Streisand is exceptionally versatile in her two roles, gussying and glamorizing herself up as she enchants us with those Burton Lane-penned melodies with such facility and emotion, they might sound a shade treacly, passé and over-sentimental, however, the timbre of her voice is supernal, and her unconventional beauty is emblazoned in such a florid fashion that can keep aesthetic fatigue at bay. Nonetheless, the underlined every-girl-fancies-herself-as-a-glamor-puss propensity feels antiquated.
A product of its own time, ON A CLEAR DAY… is unique in melding an above-board romance with the counterculture of parapsychology, but with a simper rather than a bang, too tame and cutesy for its own good (Jack Nicholson’s character is ruefully underutilized, he is supposed to be the right match for Daisy, right?), Minnelli’s picture tepidly sails through the less fathomed waters.
referential entries: Gene Kelly’s HELLO, DOLLY! (1969, 7.3/10); George Cukor’s MY FAIR LADY (1964, 7.8/10).

短評