Jerry Ryan is wandering aimlessly around New York, having given up his law career in Nebraska when his wife asked for a divorce. He meets up with Gittel Mosca, an impoverished dancer from ... See full summary »
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.
Taxi dancer Charity continues to have Faith despite endless disappointments at its hands, and Hope that she will finally meet the man to romance her away from her sleazy life. Maybe, just maybe, handsome Oscar will be the one to do it.
Seven mini-stories of adultery: "Funeral Possession", a wayward widow at her husband's funeral; "Amateur Night", angry wife becomes a 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; and "Snow", would-be suitor is actually a private detective hired by jealous husband.Written by
Herman Seifer <firstname.lastname@example.org>
Sir Michael Caine, who played a private detective, hired by a jealous husband to spy on Shirley MacLaine, has no dialogue in this movie. Even when he reports his surveillance mission calling from a telephone booth, his voice remains unheard. 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 »
All right, which one did it? Which one touched me?
Cenci (segment "Two Against One"):
I'm as still as a statue! Ants could even crawl on me!
MacCormack (segment "Two Against One"):
Well, I was fallin' asleep!
It's a disgrace! You ought to be ashamed! You have sent a dream up in smoke - destroyed a spiritual relationship. A friendship, reverting to the age of the caveman. Look at you! Look at you - insensitive mummies! And we wonder why there are still wars? - - And in front of two creatures, the likes of you, I don't even have the courage to show myself as God made me...
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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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