Siebenmal lockt das Weib

Boasting swinging '60s ambiance, handsome set design, and a sumptuous score, "Woman Times Seven" is a somewhat underwritten set of sketches with Shirley MacLaine playing seven different roles. Some are more rewarding than others, but stick with it to the end and you will find much to enjoy.

Other than MacLaine, the common elements in the film are the score, the Paris setting, and a common thread of romantic hopes found wanting. The subtitle mentions "7 Stories Of Adultery," which is more than a bit of exaggeration.

In the first sketch, Shirley plays a mourning widow being wooed during her husband's funeral procession by a bearded Peter Sellers. I watched this film just to see Sellers, but his segment is the slightest and second-weakest in the film. Basically, it's a one- joke premise where the viewer is left to wonder whether Paulette (MacLaine's character here) is really grief-stricken or merely holding out for a better deal from her new, rich suitor. It doesn't so much end as fizzle out.

The next two segments are similarly thin plot devices. Maria Theresa (MacLaine) finds her husband with another woman and decides to find a man on the street to be unfaithful with, even if she has to be a prostitute for a night. It's a bit shaky in its exposition but manages a few laughs. Then, as Linda, we see rather a great deal of MacLaine as a brainy nudist who leads two horny men to her apartment to discuss art and poetry. Other than getting naked (in ways that shield her from us if not the guys), Linda doesn't make much with the time given her, and the sequence limps to a wet, predictable conclusion.

But just as one is about to give up on this movie as a slim curio of its time, it finds its legs. In the next sequence, Edith (MacLaine) is the forlorn wife of a writer too caught up in the fantasy of his latest creation, the capricious Simone (MacLaine actually plays eight roles in this film as we see her as Simone in dream sequences). Edith goes all out to win back his interest. It's not that clever, but it is endearing, with MacLaine showing depth as the wistful, dowdy companion of a faithful but distracted man.

Director Vittorio De Sica was a legend for films made well before this one, and may have been coasting here, offering up bon-bons in place of substance. But he finds nice ways to give the film interest even in the slacker parts. In the Paulette sequence, he plays up how differently younger and older people react to the passing cortège, the younger ones carefree and bored, the older ones respectful and oddly intent. In the Edith sequence, there's a moment in a supermarket when we see her talking to a beautiful woman who marvels at her husband's passionate prose. The woman stands in front of a counter full of cookies, while Edith stands in front of a row of dog biscuits.

The last three sequences are the heart of the film's charm and lasting power, each comedic in different ways, each giving MacLaine worthwhile characters to play. Eve is the rich consort of a captain of industry, so bent on making a big splash at the opera in a new gown that she arranges for a bomb to go off in the car of a fashion rival. Her husband is suitably aghast.

"You have never taken a risk for me, ever!" she whines at him. It's a fun, farcical dig at high finance and haute couture that makes its pointed digs with gentle good humor.

As Marie in the penultimate sequence, MacLaine plots her own suicide in a seedy hotel with her squeamish lover (Alan Arkin). Here the humor is of the black variety, but rather effective, especially as they argue over which way to do themselves in. Romeo and Juliet they aren't. This may be her best acted part of the film, as she's quite funny in a role that could be deadly serious.

The last, and by far best sequence, features a woman named Jean (MacLaine) who alternately laughs at and lusts over a man (Michael Caine) who follows her around the City of Light to her husband's apartment. "He's got that little-lost-boy look going for him," purrs Jean's more worldly companion Claudie (Anita Ekberg). The sequence ends memorably and cleverly, but really benefits from a second viewing, once you have learned the Caine character's secret. Our last look of MacLaine staring out a window at footprints in the snow has an affecting beauty all its own.

Add to that Riz Ortolani's music and the visual treat of Paris itself shot during a time it truly was the City of Light, and there's a lot to enjoy. Even if a couple of sequences are not gems in themselves, better material follows, and all is presented with ample, lasting charm.

There are two types of movies that came out of the 1960s: strange, experimental films and lusciously colored films that made later generations ask, "Were the sixties really like that?" Woman Times Seven is a mixture of both, which would be a reason to watch it, if you're interested in different types of classic films. The movie has beautiful costumes, lavish colors, and oddly 60s music; and at the same time, it's strange and experimental. Seven completely unrelated short stories—each about infidelity—are played out, all starring Shirley MacLaine! She really is darling, so if you want to see her in various wigs and furs, and with beautiful expressions from heavily made up eyes, you won't want to miss this one.

The vignettes themselves aren't really all that good. Shirley has several different costars, including Peter Sellars, Alan Arkin, Rossano Brazzi, and Michael Caine. But the plots vary from silly to stalker-y to sad. It's not the best movie out there, but it won't hurt you if you want to see pretty people up on the screen.

Shirley MacLaine's performance, interpreting 7 women as different as it can be, is quite breathtaking. The quality of the mini-stories is uneven, some have aged rather badly in my opinion: Funeral Possession, Super Simone and Suicides. Others still provide a real entertainment and great fun: At the opera, Amateur night, and especially the last one, Snow, also starring Michael Caine, with a quite magical and fairy atmosphere. This was clearly the best part! With so many great talents on screen, I expected a little more from Vittorio de Sica, a director I appreciate very much. Besides MacLaine and Caine, we find indeed a rather exceptional cast with Peter Sellers, Elsa Martinelli, Vittorio Gasman, Anita Ekberg, Philippe Noiret. Unfortunately, the format of 7 vignettes and the rather thin scenarios do not allow these great talents to express themselves as they should. The movie would have been much better with 3 or 4 mini-stories, not more. De Sica took an evident pleasure in lining up the stars like pearls on a necklace, and Shirley MacLaine obviously enjoyed herself in this collection of roles, dresses and wigs. But the end result is still a bit meager. This film was for me like an appetizer buffet, pretty to watch, sometimes fun to taste, but in the end you still fell hungry about something more substantial...

Woman Times Seven is a collection of vignettes about seven random women (not adultery, as the synopsis claims) all played by Shirley MacLaine, and all the women are different. That's the whole point, they are different - one is shy, one is a prude, one is a bitch, one is even boring! They end up in different situations, some ridiculous, some poignant. There is no over-arching thread or moral to bind them together. They are character studies more than plots, something American audiences may not appreciate. Some vignettes are left unresolved, some are broad comedies, some are bittersweet. If you are waiting for the punchline it isn't always here, but sometimes it is, leaving the overall flow bumpy and uneven.

I'm not a fan of vignette films, but it's so difficult to find interesting female characters in today's films. How refreshing to see many different "types" here - even if all played by the same actress. MacLaine is good. She's thoughtful about each character and steps out of her usual pixie/harlot role, but taken together it feels like a gimmick - the sum is not greater than the parts. The characters suit the style of each story, so some have gravity and others are comic caricatures that serve the situation - another aspect that makes the film seem uneven. Within each vignette MacLaine does a fine job, using her considerable talents as a dancer to physically embody each woman differently, but we're not with these women long enough to see any metamorphosis.

The first is a grieving widow opposite Peter Sellers whose words of comfort keep turning to inappropriate propositions. The scene belongs completely to Sellers, and it's the weakest of the stories.

The second character is a prudish wife who after discovering her husband and her best friend in bed, runs out of the house vowing to have sex with the first random man she meets. Instead she finds sympathy in a group of prostitutes who exchange war stories about love and men. For all their sexual experience they don't seem to have a better grasp on relationships, and an instant sisterhood bridges their social divide.

The third is a modern sex farce about a beautiful UN translator who has become so jaded about men that she has idolized her platonic relationship with a gay roommate. Meanwhile she reads poetry in the nude and invites two playboy dignitaries to her bed while she shows them slides of modernist paintings. the handsome men humor her bizarre quirks while trying to get the other to leave, a testament to men putting up with any amount of femcrazy to get laid.

The fourth character is the dull housewife who feels she must compete with the unrealistic fantasy woman of her husband's novels. She begins to embody the outlandish descriptions, wearing wigs and costumes, laughing and singing and being so impetuous that everyone begins to think she is having a mental breakdown. This is the first episode that feels like a real story arc, moving from awkward comedy to a heartbreaking moment as she realizes she has gone too far, crying out "I'm not crazy , I'm just in love!"

The fifth vignette is my favorite. MacLaine plays a society bitch who is mortified to discover a rival will be wearing the same gown to the opera. The stakes escalate as their powerful husbands get involved, then their husbands' corporations as the two Dames flex their power, neither willing to budge. MacLaine is spectacular shifting gears between barking orders at her husband's employees, giving condescending lectures to the maid, looking absolutely fabulous, while plotting violent sabotage. It's lavish and campy and evil. So much fun!

The next episode clunks. MacLaine and Alan Arkin are lovers trying to negotiate a suicide pact but keep coming up with excuses to not go through with it. The dialog feels improv, and it all takes place in realtime in one room, like a one-act play or a TV skit. It's a case where the vignette before it is so lavish and fun this scene drags in comparison.

In the final piece, a shy housewife and a glamorous model friend meet for lunch and they are followed by a young man. As they separate the shy woman is thrilled the man follows her instead of her friend. She wanders home slowly hoping to make the moment last. The tone is innocent and bittersweet (but also a little creepy by today's standards of harassment and stalking - there is a twist at the end that lets us know he will not come back later, break into her house, and murder them all).

What's remarkable with Woman Times Seven is individual moments that stick with you long after the movie has gone. It never gels together as a whole, but I feel that's a problem with all vignette films. There are some interesting situations and characters who probably are not compelling enough for a whole movie, and maybe that's the idea. Most of these women are having small personal moments that define them. It's individual portraits done in a charming way, with a big talent Hollywood actress but with European flavor. We get to follow some pre-feminist characters we would not normally be allowed to see. They are fallible, self-contradictory, and immature.

While there are observations about the different sexual expectations of men and women, it's dismissive to say this is a movie about "adultery" or sexual romps, as if it is another slice of '60s Euro-erotica. Instead of cheesecake, many of the women are portrayed unflatteringly or for laughs. The viewer sees through the illusion they do not see themselves, and there-in lies the opportunity to say dozens of small truths through comedy: it *is* crazy to try to become someone's fantasy. The shyest person could crave dangerous attention. Love is NOT worth dying over, but also death is not the end of love....

Shirley plays the lead in seven different stories in Paris in different love situations. The best one is the sixth, a marvellous travesty of Marcel Carné's "Le jour se lève" with Jean Gabin and Arletty, and almost identically in the same squalid hotel, where Shirley and Alan Arkin intend to do themselves in, but there are arguments about it. This is great fun and Cesare Zavattini and Vittorio de Sica at their best. The other episodes are rather uneven, but the second one, where Shirley comes home to find her husband (Rossano Brazzi) in bed with another woman, whereupon she runs out in the streets in a panic and happen to a bunch of prostitutes in the park, who decide to help her, while her husband comes running out in the streets after her in his pyjamas, is also well written. The tendency of the others is that you will eventually get a bit tired of finding only Shirley MacLaine in all of them - there is a little of Anita Ekberg in the last of them, but not much. All other characters are subordinate. It is entertaining on the whole, but you don't laugh much, while instead you find some situations rather awkward and painful, like the luxurious opera spectacle with Patrick Wymark in a typical role of his. Peter Sellers is excellent in the very first episode, which is the briefest. In brief, this is not one of de Sica-Zavattini's best works, but it has some excellent highlights.