This slowness can create significant uncertainty, especially for people struggling to make ends meet or for small business owners, who rely on receiving payments promptly to support their cash flow.
Traditionally, they have been processed in large batches once a day or several times a day and didn’t process electronic payments at all at night or on weekends. As it is, this is a decent, pleasant musical film, and worth watching if you are a fan of the genre.For the last century or so, cash and checks have been the methods of choice for doing business, although more recently, electronic bank transfers have allowed us to make payments directly from our bank accounts instead.īut even today, checks can still take a day or longer to clear, and the speed of electronic bank transfers are dependent on a country’s banking infrastructure. Not having seen that version, it's difficult for me to say whether or not it would have been an improvement over the finished product, but I doubt it. It's a shame that the film was cut so badly before it was released. The Technicolor is stupendous, lusch and vivid. Still, the quality of the songs themselves, make up for this. John Cullum's singing in the original Broadway version is so clear and strong, and Montand is just not at par with that. It's difficult enough to understand his spoken word, but it's even worst when he sings. My only complaint in them is Yves Montand's singing. A few of the original songs from the stage show have been replaced here with different pieces, but they are good ones nontheless. The songs in this film are all great, not one of them are what I would consider "filler".
You don't need to be fans of either of the lead actors, but it does help if you are a musical fan and are somewhat interested in the science of ESP. As for this film, it is a charming watch, and an enjoyable way to spend a couple of hours. However, comparing the stage version of this show with the film would be pointless, because all filmed musicals of Broadway shows usually change in more then a few ways.
It has some wonderful music and an intriguing story. Even the original stage version is not as well known as say, "Oklahoma!" or "West Side Story", but it should be. This is one of those musicals that rarely gets talked about. Koch determined that if the film still exists, it's probably in a mislabelled canister. Koch asked Streisand and Minnelli's widow if they had remnants of the cut footage, but neither did. Koch conducted a search for the deleted footage in 1994, particularly Nicholson's song, which he wanted to showcase during the AFI tribute to the actor. In addition to all but the briefest of Jack Nicholson's scenes being cut, a musical number sung by him and Streisand, "Who Is There Among Us Who Knows?," was also cut, as well as "Wait Till We're Sixty-Five," a duet between Larry Blyden and Barbra Streisand. According to the 1974 biography "Barbra Streisand: The First Decade", this was originally envisioned as a three-hour "road show" extravaganza, and included many sequences of Daisy's other lives (photos of which were printed in some pre-release promotions), but director Vincente Minnelli and the studio felt it would be too long, especially since musicals had already begun to fail at the box office.
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