Siebenmal lockt das Weib

Woman Times Seven may not be the greatest film IL' Shirl has ever made ("Being There" comes to mind), and it may not be her high water mark for sheer feminine beauty (the scene where she's on the elevating psychiatrist's couch in "What A Way To Go" certainly takes that prize), but just to look at her as the grieving widow, to the surprise revelation of that cute little bow at the back of her apron in such a strategic place, to how she CLEARLY was the most spectacular femme at the opera...ah, what a piece of work is woman!

In this day and age, where women think that they don't need makeup, or stockings, or stiletto pumps, where hair is considered attractive if it looks like one just got out of bed and used fingers alone, and before they wake up and realize that tattoos and piercings are sooo trampy, that quick-cut set of takes where she is at once the house mouse in her little peignoir and just as instantly the SAME WOMAN is the man-eating vixen Simone is CLEAR CUT PROOF that with the right grooming and wardrobe ANY woman can be a goddess. I've been saying THAT for years, but no one but the cinematic cognoscenti would even know what I'm talking about.

Beyond that, the flick has EXACTLY the right taste of Sixties-flick, and that's enough said. Remember: Heaven will be all-Sixties forever.

JTC

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.

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...

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.

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.