6.2/10
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Woman Times Seven (1967)

Not Rated | | Comedy, Drama | 10 October 1967 (France)
Seven mini-stories of adultery: "Funeral Possession," a wayward widow at her husband's funeral; "Amateur Night," angry wife becomes streetwalker out of revenge; "Two Against One," seemingly... See full summary »

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Nominated for 1 Golden Globe. See more awards »
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Cast

Cast overview, first billed only:
...
...
...
Annette (segment "Funeral Procession")
...
Giorgio (segment "Amateur Night")
Laurence Badie ...
Prostitute (segment "Amateur Night")
...
Bitter Thirty (segment "Amateur Night")
Catherine Samie ...
Jeannine (segment "Amateur Night")
Zanie Campan ...
(segment "Amateur Night")
Robert Duranton ...
Didi (segment "Amateur Night")
...
Clinton Greyn ...
...
Rik (segment "Super Simone")
...
Pretty woman (segment "Super Simone")
...
Dr. Xavier (segment "Super Simone")
Jessie Robins ...
Marianne, Edith's maid (segment "Super Simone")
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Storyline

Seven mini-stories of adultery: "Funeral Possession," a wayward widow at her husband's funeral; "Amateur Night," angry wife becomes streetwalker out of revenge; "Two Against One," seemingly prudish girl turns out otherwise; "Super Simone," wife vainly attempts to divert her over-engrossed writer husband; "At the Opera," a battle over a supposedly exclusive dress; "Suicides," a death pact; "Snow," would-be suitor is actually a private detective hired by jealous husband. Written by Herman Seifer <alagain@aol.com>

Plot Summary | Add Synopsis

Taglines:

As Naughty As A Black Lace Nightgown!

Genres:

Comedy | Drama

Certificate:

Not Rated | See all certifications »

Parents Guide:

 »
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Details

Country:

| |

Language:

Release Date:

10 October 1967 (France)  »

Also Known As:

Siete veces mujer  »

Company Credits

Show more on  »

Technical Specs

Runtime:

| (DVD)

Sound Mix:

(Westrex Recording System)

Color:

(Eastmancolor)

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Vittorio Gassman is not listed in the on-screen credits even though he plays the male lead in the "Two Against One" segment and his name and picture appeared on US posters for the film. See more »

Goofs

In "The Suicides" vignette, the characters scrawl a French profanity on the wall of their hotel room, yet when they play a long scene in front of a mirror in which the word is reflected, the word doesn't appear backwards as it normally would. See more »

Connections

Featured in Film Review: Changing Faces (1968) See more »

Soundtracks

Extract from 'Carmen'
Music by Georges Bizet
Editions Choudens
See more »

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User Reviews

 
Mildly Amusing Portmanteau Film
9 April 2016 | by See all my reviews

WOMAN TIMES SEVEN is one of those portmanteau films beloved of filmmakers of the Fifties and Sixties linked by an abstract theme or authorial voice. In this case, it is adultery.

Shirley MacLaine gets the chance to show off her acting talent in seven different roles ranging from a mousy homemaker to a translator-turned-vamp, a shrewish society lady, and a middle-aged Parisian pursued by a strange man. Sometimes she is more effective than others; she reveals her talent for dancing as well as nonverbal comedy. The film is quite risqué for the late Sixties, as it has her appearing nude in one of the sequences, although director De Sica ensures that she is most tastefully shot, revealing nothing of her charms for lascivious viewers.

Of the seven playlets, "Funeral Procession" is quite droll, with Peter Sellers reprising his role from the previous year's WHAT'S NEW, PUSSYCAT? as a lecher trying yet failing to persuade a widow (MacLaine) to sleep with him. In "Super Simone" Lex Barker plays a successful novelist so obsessed with his fictional character Simone and her sexual exploits that he remains immune to his wife's (MacLaine's) entreaties - that is, until she initiates some outrageous stunts, including having their evening meal served by an African dressed in tribal clothing. "At the Opera" has MacLaine as a society lady fond of shouting at everyone who is eventually trumped by the sight of one of her deadliest rivals (Adrienne Corri) having the same style of dress designed for her. The anthology rounds off with Michael Caine in a nonspeaking role working for a rich Parisian (Philippe Noiret) jealous of his wife (MacLaine).

The film incorporates some of the sexist values characteristic of a pre-feminist era: women mostly exist to serve their husbands, both socially as well as sexually. Yet such archaism is redeemed somewhat by the atmospheric photography (by Christian Matras) that captures Paris's romanticism and enduring attraction.


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