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...
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Julia, a divorced American fashion designer, is dying of a tragic, incurable disease. With only ten days to live, she spends her time vacationing in an Italian villa and watching television... See full summary »
A women lives a miserable life in the basement of her Milan apartment, with her boring inlaws and three children (boys). Her husband has been injured. Her bleak life takes an unexpected ... See full summary »
Vittorio De Sica
After the heist of the 'gold of Cairo', an Italian criminal mastermind, impersonating a film director, plans to grab the loot once it's unloaded on the beach of an Italian fishing village where a bogus movie is being filmed.
Under provincial Italian law at the time, once a roof is erected, the occupants cannot be evicted from a building. This comedy follows the efforts of a family to erect the roof on a house ... See full summary »
Vittorio De Sica
In Naples, a voice from the skies announces one morning that the final judgment will be at 6 p.m. on that day. What follows is a series of vignettes depicting various people's reactions (or lack there of) to the announcement.
Tribute to Naples, where director De Sica spent his first years, this is a collection of 6 Napolitean episodes : a clown exploited by a gangster ; an inconstant pizza seller (Sofia) loosing... See full summary »
Vittorio De Sica
Eduardo De Filippo
Three episodes. The refrigerator. A married couple of two poor emigrant workers spend almost all their money to buy a refrigerator (a must in the '70s). The purchase is too expensive for ... See full summary »
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 <firstname.lastname@example.org>
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 »
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 »
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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