Single Room Furnished

I got this one in a Drive-in 50-pack. I was excited that Jane Mansfield was a part of this pack and was looking forward to watching Single Room Furnished (1966) because I had never seen it before. To my surprise the film is, well, awful.

Jane Mansfield was fine in this film. I did not have a problem with her acting ability. What I found horrible was this film - not Jane.

Being fair about it - I realize Jane died before she could finish this film and we were left with basically an incomplete film. I know they beefed up the extra characters in order to "complete" the film but the story is just bad. Really bad.

The whole idea behind this story is rubbish to me. Jane plays Johnnie / Mae / Eileen. The woman Johnnie is married, her husband leaves her when she becomes pregnant. That part of the story is OK but what happens next is crazy - Johnnie then changes her hair color and her name to Mae. Mae becomes a waitress, falls in love with a married man who goes back to his wife. Then Mae changes her looks again and her name again this time to Eileen and becomes a prostitute. WHY??? Why would Johnnie keep changing her name and looks just because her husband left her? He's not going to killer her!! He just flat out left her. Do what? What a crazy story that is, quite frankly, boring!!

Charley and Flo are worse... they are the beefed up characters. We hear long boring conversation between them.

OK. If Jane had lived long enough to complete this film then it might have made more sense in the end but I still don't think it would have ever helped this script over all.

Watch this film only if you are really crazy about Jane Mansfield. I'd give this film a 1 but I'm giving it an extra point just for Jane.

2/10

The answer is yes. The question: Could Jayne act? She did in this one, and was surprisingly good at it too. I saw this movie more out of morbid curiosity than anything else, not really expecting much. I'd read lots of reviews of it, most of them on the negative side. I admit to being a big Mansfield fan so I did have a bit of a bias. And surprise, surprise I did enjoy it. For the most part! I liked her a lot more than the movie tho. I can understand why this wouldn't have been a box-office hit. It's a bit slow at times, and strays off course. The secondary plot involving Charley and Flo confused me. While the actors did a fine job, after a few minutes I felt like I was watching another movie altogether. Their first scene together was WAY too long, and I began to wonder who they were and why were they there in the first place. But after reading that Jayne died before the film completed it made sense. The producers didn't have enough completed film at that point, so it made sense to beef up the secondary roles the characters play, and pad the length of the film to a reasonable length. Not that the actors were bad, they weren't, but I felt that they were out of place here, and that they should have had a whole film of their own. Jayne does a good job here, though admittedly she's no Bette Davis. She was compelling enough to carry the movie. For a while I actually forgot I was watching Jayne Mansfield, and got caught up in the characters she was playing. She was talented. She could act. And while this isn't a great movie it does show a really good actress in the making. It's tempting to speculate where her career might have led if she'd lived. All in all, this is a good if not great movie. You be the judge.

I thoroughly enjoyed `Single Room Furnished,' a beautiful film about quiet desperation. The cinematic equivalent to a Graham Greene novel, this darkly daring film centers on Maria, an irrepressible girl in her teens played by the very catching Terri Messina (who looks a bit like Marlo Thomas and Mary Tyler Moore, only hotter) and the desolate trifecta character of Johnnie / Mae / Eilene, played by Jayne Mansfield.

Pop (Billy M. Greene) tells Maria the story of Johnnie's lowly life, as if it were one of Hilaire Belloc's `Cautionary Tales for Children,' against a backdrop of real, unadorned people in their real, drab existence. Director Matt Cimber, in his debut feature film, illustrates the ruthlessness and dreariness of life and how it gleefully pulverizes people who never had a chance. It's not a satirical film, just a bleak soul-shriveler of the cruelest kind. Throughout, Mansfield conceals a depth of softness and vulnerability, hinting that there's always a hopefulness hidden under her sobs and disappointment. The feel-good film of the year this isn't (Mansfield even died before the movie was completed)! But, if you're looking for a quiet tale about human nature and want to see how the majority of American people feel, definitely watch this one!

At the height of her fame, Jayne Mansfield marketed hot water bottles shaped like her notorious 41-18-26 superstructure; sold her used bath water for $10 a shot; reportedly had 1,000,000 lines of copy devoted to her during a six month period in New York alone; and was considered a serious threat to Marilyn Monroe as the world's #1 blonde bombshell. Unfortunately, a relentless drive toward increasingly tacky publicity stunts quickly labeled Mansfield more an event than an actress. By the mid 1960's, her celebrity was renowned, but the star 20th Century Fox once valued at a reported $20 million was adrift without a major studio, appearing in tawdry European film productions and touring in a campy nightclub act. 1966 saw Mansfield hit near-bottom: overweight, alcoholic and dependent on pills, the fading sex goddess was at the nadir of her film career, appearing in worthless dreck like "Las Vegas Hillbillies.": Her current husband, Matt Cimber, however, still fed into her belief that, with the right project, she could become a serious actress. To that end, he directed her first "serious" drama since 1957's "Wayward Bus," a gritty little script called "Single Room, Furnished." In keeping with the film's seedy urban setting, the sets are tacky and threadbare, with a blaring jazz soundtrack. Jayne plays three roles: a teenage bride, a pregnant cocktail waitress, and a call girl. (As one columnist sniffed about the then-unmade film, "Should get into real ART when Jayne plays the teenager!") To Cimber's credit, he elicted a performance from Mansfield which, if not exactly good, is hypnotic and eminently watchable. In most of her films, Mansfield is over-upholstered window dressing; here, she is not given much room to be attractive, and even as the call girl, she's a far cry from her halcyon days at Fox. Therefore, it's to her credit that, without the benefit of silver lame, wriggling undulations or bare-breasted antics, she maintains our interest. It's a hauntingly poetic performance, completely guileless and technically lacking, but somehow very honest. At this point in her life, perhaps Mansfield knew something of her character's sadness and loneliness. On June 29, 1967, Mansfield was killed in a car accident; "Single Room, Furnished" was still incomplete, so additional scenes were shot with the supporting cast. Surprisingly, these scenes are remarkably touching, focusing on the romance between "Flo" and "Charlie." This isn't a good film, by any stretch of the imagination, but it is rather moving, and a sad, quiet postscript to the otherwise gaudy phenomenon of Jayne Mansfield.

Matt Cimber's "Single Room Furnished" is a dark, atmospheric film about destroyed lives and desperation. It is a wonder that this 60's gem is not a cult classic, as it features an outrageous jazz score, along with the legendary cult icon Jayne Mansfield, in three different roles. The story is amazingly lurid, following Jayne's character 'Eileen' on her downward spiral, through failed relationships, unwanted pregnancies, abandonment, leading her to a sad life of prostitution. The film possesses a hypnotic quality. The cheap, tawdry sets and tacky costumes, along with watching Mansfield move dreamily about her surroundings makes for a surreal viewing experience. I was moved by the operatically sad stories of these people. Because Mansfield died before films completion, an extra storyline was added in to bring the film up to feature length running time. Unlike some other viewers, I found the side story with Charlie and Flo thoroughly enjoyable, and those two had some hilarious lines. The scene where the middle aged Flo gets herself all "gussied up" to meet the beer drinking slob Charlie, in what has to be the most tacky bar/restaurant ever captured on film, only to pull a rotten fish out of her purse, and later snatch off her hairpiece; classic stuff. When watching this, one gets the feeling that they are seeing something very rare indeed. As mentioned earlier, the rousing 60's jazz soundtrack is memorable, and fetches over $100 whenever an old LP soundtrack of the movie pops up on ebay. The production carries a distinct feeling of "nostalgia", a shadowy look into a time now gone. And Jayne Mansfield has undeniable screen presence, and for those wondering, she actually could act, and "Single Room Furnished" is proof. The film is exploitation to be sure, capitalizing on Jaynes name, and her tragic life. But it is not degrading to the star for a moment. There is no nudity, and she is given the chance that she most likely always wanted, to play parts other than "sex kitten". The final scenes of 'Eileen' and her sailor, as she confesses her sordid life to him, and to the audience, are among the most beautiful and haunting images to grace the silver screen. For fans of cult or weird 60's films, and definitely for fans of Jayne Mansfield, this is required viewing. Surprisingly there is a great DVD edition of this obscure title, featuring a beautiful widescreen print. It would make a nice double feature with "Who Killed Teddy Bear," starring Sal Mineo. Also recommended is "The Wayward Bus," another obscure one featuring Jayne in a serious role.