Woman Times Seven was announced in a 9 Feb 1966 NYT article as the next project for writer-director team Cesare Zavattini and Vittorio De Sica, who had just signed a three-picture deal with Embassy Pictures Corp. The project, then referred to as Woman x Seven, was slated to be the first of the three productions, all of which would be financed entirely by Embassy at budgets of $1-$3 million, in exchange for worldwide distribution rights. Although Zavattini and De Sica were both Italian, none of the pictures were expected to qualify as native Italian productions and therefore would not be eligible for subsidies from the Italian government.
       Natalie Wood and Shirley MacLaine were said to be the top two contenders for the female lead, which involved seven separate roles in the screenplay’s vignettes. MacLaine’s casting was confirmed in the 1 Jun 1966 Var. Various contemporary sources reported her salary as between $800,000 and $1 million, although the 30 Jun 1967 DV claimed that a “production source” verified she was paid “a flat $850,000, with no participations.”
       Principal photography began in Paris, France, on 10 Oct 1966, as noted in a 14 Oct 1966 DV production chart. Around that time, the 19 Oct 1966 Var stated that the film would cost an estimated $4 million. An item in the 9 Nov 1966 Var described Woman Times Seven as Embassy chief Joseph E. Levine’s “biggest self-financed film,” and noted that Twentieth Century-Fox Film Corp. had acquired foreign distribution rights for an undisclosed price that may or may not have involved a payment in advance of the film’s completion. The 2 Dec 1966 DV added that the picture would be the costliest to be shot in Europe in 1966. Due to its contribution to the local economy, producer Arthur Cohn was said to be baffled by the lack of “compensations or at least partial film aid” from the French government.
       While shooting was underway, a 23 Nov 1966 Var news brief announced that actors Michael Caine and Robert Morley would appear in the film, while Rock Hudson had recently dropped out. Shortly after, a 30 Nov 1966 Var item listed Akim Tamiroff as a cast member.
       Embassy’s European press agent, Harvey Matofsky, went to France in order to personally supervise relations with the press there, according to a 12 Oct 1966 Var brief, which also named Bayley Silleck as the unit publicist and Patrick Morin as a special still photographer.
       Sometime during production, the 18 Jan 1967 DV reported that De Sica had become a French citizen, in order to divorce his estranged wife Guiditta Rissone, and get remarried to María Mercader. Var also noted that Italian producer Carlo Ponti had previously done the same thing by becoming a French citizen to gain a divorce.
       Advertisements for the film showed De Sica’s name before the title, i.e. “Vittorio De Sica’s ‘Woman Times Seven.’” According to the 10 May 1967 Var, the ads were an example of a recent trend of “over-title billing for non-writers” that conflicted with a Writers Guild of America (WGA) clause meant to forbid such a practice.
       The film premiered on 27 Jun 1967 at the Lincoln Art Theatre in New York City, which was owned, at that time, by Embassy Pictures Corp., the 7 Jun 1967 Var noted. A general release followed the next day at the Lincoln Art and Loew’s Tower East. A West Coast premiere occurred on 29 Jun 1967 at the Vogue Theatre in Los Angeles, CA, and was followed by a general release there on 30 Jun 1967. Critical reception was mixed, but Shirley MacLaine’s performance was recognized by a Golden Globe Award nomination for Actress in a Leading Role – Musical or Comedy.
       The film opened in Paris, France in Oct 1967 as Sept fois femme. In Italy, it was released as Sette volte donna.
       On 4 Jun 1967, NYT announced that De Sica and Zavattini had ended their partnership with Embassy for undisclosed reasons, and that the remaining two of their three-picture deal would not be made.
       The participation of the Société Nouvelle des Films Cormoran is unconfirmed.