I like the storyline of this show,it attract me so much

It's not great by any means, but it's a pretty good movie that didn't leave me filled with regret for investing time in it.

The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

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.

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.

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.

Well, this movie is a little pointless. The endings to each sequel aren't shone and the plots themselves except for Edith and Marie, are a little drastic. Can you imagine a beige haired Shirley MacLaine wondering around her apartment naked reading T.S. Elliot while a Mediterranean man and a gorgeous blonde Scot are sitting on the bed, paying more attention to this pixie like artistic woman than the story that she reads? A little odd...Yes...But Shirley pulled it off. All these stories have a theme "Love can drive you crazy." There's also a story of a rich, spoiled woman (Eve) who wants a stupid dress like no other so she tries to blow up the other owner of her dress! Then there's Edith, who loves her author husband enough to come out of her bland, unexciting shell into the characters that he creates. That 15 minute part right there could've been a movie. The doctor and Vic tell Edith that she's crazy but she cries from the roof top "I'M NOT CRAZY!!! I'M IN LOVE!!" There's Maria Theresa, who comes home a day early and catches her friend sleeping with her husband. In out rage she runs to hookers to sleep with another man to drive her husband wild with jealousy. Marie and Fred are two lovers who are confused about life. They decide to make a suicide pact. I was surprised at how cute Alan Arkin really was when he wasn't in "Wait Until Dark"! Anyhow, they both decide that no love is worth the trouble of shooting each other or whatnot. Of course after they finish boffing each other. There's Jeanne, who is followed with her friend by a "mysterious stranger" who was only hired to follow her to make sure that she wasn't cheating on her suspicious husband. All of these stories are odd and a little loony but seeing Shirley MacLaine change so much for each part is delight. She goes to every color of hair, every style of look, through every outfit you can imagine. She looks great! Apart from that, this movie is a little much for kids and well, I don't highly suggest it to anybody other than dedicated Shirley MacLaine fans. OTHER STARS: Michael Caine appears. He's too cute.