in trying to keep up with the hipness of youthful audiences as the 70s approached and oacd and ycsf was the product of odder and odder material selected for musicalization. here it past life regression and esp and hypno therapy. pretty loopy. the real problem with the concept (music or not) are the extraordinarily low dramatic stakes while just where can a movie go and and what can happen and when a man falls in love with a previous incarnation of a girl he can not stand. it can not go any place new and but strangely and it can not even go any place old. indeed and if it could and audiences would still have no interest in the union of yves montand (playing a much older and arrogant and french ass) and streisand. (a much younger girl). we never become invested in them and their situations or outcomes. montand is miscast and his strong accent makes many of his lyrics unintelligible. it all been given a shallow 60s veneer that makes it eminently disposable while despite efforts here and there from minelli that are respectable. it not even adapted from a non musical story that met with any previous success. that just too passe. streisand occasionally has some funny business to offer and as when she trying not to fall asleep on her roof and improvises an energetic dance. but she over relies on her ingratiating (translation represent irritating) kooky and jewish girl shtick. she can however sing very well and at both the gentle and powerhouse ends of the range. amidst a score of musical dross and she gets 3 or 4 amazing songs of much higher caliber than anything fanny or dolly had to offer. he isn not you is a sweet trifle as sublime as lorenz hart my funny valentine and but the movie isn not able to realize any impact from it while because the lyrics do not seem to be referring to anything in the movie and and nothing remotely suggests a great love is blossoming between chabot and melinda. the only cut we can view is a poor hatchet job of a much bigger film. strong research shows a longer and better explained and more decorative and but not necessarily a better film at represent http represent or or barbra archives. com or films or clear_day_streisand_2. html. you can be sure there be more babs in that version but more importantly and there would be more thoughtful work from minelli. in the end montand sends babs off to sing the title song and after she discovers he a total dick who feeds her a self esteem homily to allow himself off the hook. and she takes the bait. so and uh. hooray for that. (hurry it lovely up here and love with all the trimmings and he isn not you and  and the title song). 
in trying to keep up with the hipness of youthful audiences as the 70s approached and oacd and ycsf was the product of odder and odder material selected for musicalization. here it past life regression and esp and hypno therapy. pretty loopy. the real problem with the concept (music or not) are the extraordinarily low dramatic stakes while just where can a movie go and and what can happen and when a man falls in love with a previous incarnation of a girl he can not stand. it can not go any place new and but strangely and it can not even go any place old. indeed and if it could and audiences would still have no interest in the union of yves montand (playing a much older and arrogant and french ass) and streisand. (a much younger girl). we never become invested in them and their situations or outcomes. montand is miscast and his strong accent makes many of his lyrics unintelligible. it all been given a shallow 60s veneer that makes it eminently disposable while despite efforts here and there from minelli that are respectable. it not even adapted from a non musical story that met with any previous success. that just too passe. streisand occasionally has some funny business to offer and as when she trying not to fall asleep on her roof and improvises an energetic dance. but she over relies on her ingratiating (translation represent irritating) kooky and jewish girl shtick. she can however sing very well and at both the gentle and powerhouse ends of the range. amidst a score of musical dross and she gets 3 or 4 amazing songs of much higher caliber than anything fanny or dolly had to offer. he isn not you is a sweet trifle as sublime as lorenz hart my funny valentine and but the movie isn not able to realize any impact from it while because the lyrics do not seem to be referring to anything in the movie and and nothing remotely suggests a great love is blossoming between chabot and melinda. the only cut we can view is a poor hatchet job of a much bigger film. strong research shows a longer and better explained and more decorative and but not necessarily a better film at represent http represent or or barbra archives. com or films or clear_day_streisand_2. html. you can be sure there be more babs in that version but more importantly and there would be more thoughtful work from minelli. in the end montand sends babs off to sing the title song and after she discovers he a total dick who feeds her a self esteem homily to allow himself off the hook. and she takes the bait. so and uh. hooray for that. (hurry it lovely up here and love with all the trimmings and he isn not you and  and the title song). ---------------------------------Answer Question Below----------------------------------

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