Woman Times Seven

1967

Comedy / Drama

126
IMDb Rating 6.1 10 1,284

Synopsis


Downloaded times
May 29, 2020

Cast

Alan Arkin as Schmendrick
Michael Caine as Andrew
Peter Sellers as Mr. Martin
Shirley MacLaine as Shirley MacLaine
720p.BLU 1080p.BLU
995.44 MB
1280*720
English 2.0
NR
23.976 fps
99 min
P/S N/A / N/A
1.8 GB
1920×1080
English 2.0
NR
23.976 fps
99 min
P/S N/A / N/A

Movie Reviews

Reviewed by liufilms-yl 7 / 10 / 10

The Seven Faces Of Shirley

A film directed by the great Vittorio de Sica with Shirley MacLaine! How exciting I thought. Then, every episode has Shirley with a different leading man, Peter Sellers, Alan Arkin, Michael Caine, Vittorio Gassman, Rossano Brazzi, etc, etc. Well, it was too good to be true. The stories are slight and I kept waiting for a bit of ooph. Okay, no. No oomph really but it has moments. Michael Caine and Shirley in a moving comedy of errors for instance and it has her, Shirley MacLaine and that in itself makes it a must because she'll be there for us , seven times, one hundred per cent.

Reviewed by wetcircuit 6 / 10 / 10

Some real gems here

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....

Reviewed by Yokam 6 / 10 / 10

Woman MINUS Six

It's always a bit sad when you remember a movie for so long, with such joy, and then finally when it comes out on DVD and you rush to view it, well, as Mr. Wolfe likes to say: "You can't go home again". I first saw this movie as a little boy, sneaking into the neighborhood theater. "Woman's Times Seven" was, after all one of those "foreign films" (though not really), and I was told that no self respecting all American boy should see it. So I was there the first day it opened. For a little boy, seeing Shirley Maclaine reading TS Elliot in the nude, or running around with heart-of-gold prostitutes was enough to proclaim this a masterpiece. For some strange reason this was a movie that didn't find its way onto regular TV, or even cable (or perhaps I just missed it), and only recently came out on DVD. So it remained as a great film in my mind all these years. But then I just saw it again. The problem is that six of the seven stories, watching them now as an "old man", just don't work. They are, more "shaggy puppy stories", than anything. Simple ideas (grieving widow being seduced in "eye shot" of her dead husband, scorned wife seeking revenge, pampered rich bitch, crazy UN translator, suicidal mistress, plain housewife trying to bring life back into her marriage, etc.) just fall apart after the first scene. Sure, I remember Lex Barker as the ultimate writer cliché… two massive dogs at his side, ever lit pipe, writing sexy novels in his study wearing a smoking jacket, (and from then on wanted nothing more than to write novels myself!)… but basically so much of this film is forgettable, and the endings just sort of fizzle out. The first story, with Peter Sellers, the "family friend" escorting the beautiful grieving widow, walking right behind a horse-drawn Hearst along with a party of mourners, trying to seduce her while her dead husband's body is still warm, could have been wonderful… especially if they had allowed Sellers to do his own thing. But director De Sica (who plays a cameo in this story as one of the mourners) keeps it cold, and by the numbers. There is no motivation for what Maclaine decides to do at the end of this story. This seems to be a problem with the next five stories, their pay-offs are basically bankrupt. Sure, even as a boy I got the joke that the photo of her lover in the story where she was a UN Translator having a "night" with two horny bureaucrats, was actually Marlon Brando, but when that one gag (which, by the way, they play into the ground) becomes the highlight of what should have been a "shocking" celebration of a possible "ménage a trios", then you have problems. And when have you ever seen Alan Arkin complete wasted before? So many of the endings have this kind of self-satisfied "shrug" to them. A sort of "oh well" sensibility that seems more cop-out than pseudo existentialism. However, the reason I call this review "woman minus six", is that the movie is completely redeemed by the seventh and final story, called "Snow". A simple story, the most beautifully photographed in the streets of Paris, shows two best friends, Maclaine and Anita Ekberg on a shopping day, being pursued by what they believe to be a young smitten wannabe lover. In sweet simple scenes you follow the "suitor", (played with elegant grace by Michael Caine… and without one word of dialogue!) as he seems to pursue these two women. When they decide to split up after lunch to see which one he truly is after (although Ekberg does say: "Maybe he wants us both, he could be one of those moderns) Maclaine. to her joy, finds that he continues to follower her. I won't spoil the ending, but this truly was a pure, finely crafted story, which says more about women, their needs, hopes, desires, fears and fantasy's, in fifteen minutes, than most movies do in two hours. And finally Ortolani's theme which has been repeated through every story, also finally makes sense. Everything comes together in this last story. I'm sure there is no coincidence that it was placed last. They must have know it was the best. If only they had realized that, and thrown the other six out and started over… using "Snow" as their bar to try and rise above.

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