MANSFIELD 66/67 is about the last two years of movie goddess Jayne Mansfield's life, and the rumours swirling around her untimely death.
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Title: Mansfield 66/67 (2017)
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1 nomination.
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Cast
| Cast overview, first billed only: | |||
| Kenneth Anger | ... | Himself | |
| A.J. Benza | ... | Himself | |
 |
Sue Bernard | ... | Herself |
| Joshua Grannell | ... | Himself (as Peaches Christ) | |
| Cheryl Dunye | ... | Herself | |
| Tippi Hedren | ... | Herself | |
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Anton LaVey | ... | Himself (archive footage) |
| Jayne Mansfield | ... | Herself (archive footage) | |
|
|
Marilyn | ... | Himself |
|
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Alison Martino | ... | Herself |
|
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Matt Momchilov | ... | Himself |
|
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Miguel Pendas | ... | Himself |
| Dolly Read | ... | Herself | |
| Yolonda Ross | ... | Herself | |
| Mamie Van Doren | ... | Herself | |
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Storyline
MANSFIELD 66/67 is about the last two years of movie goddess Jayne Mansfield's life and the rumors swirling around her untimely death being caused by a curse after her alleged romantic dalliance with Anton LaVey, head of the Church of Satan.
Plot Keywords:
actress | celebrity | car accident | reference to the church of satan | animated scene |Taglines:
A true story based on rumour and hearsayParents Guide:
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Details
Country:
USALanguage:
EnglishRelease Date:
2 April 2017 (USA) See more »Also Known As:
Jayne Mansfield 66/67 See more »Edit
Box Office
Opening Weekend USA:
$6,451, 29 October 2017Gross USA:
$17,930Cumulative Worldwide Gross:
$19,390Company Credits
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Technical Specs
Runtime:
Color:
ColorAspect Ratio:
16:9 HD
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Written by The 5.6.7.8's
Performed by The 5.6.7.8's
Courtesy of Time Bomb Records
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Soundtracks
I Walk Like Jayne MansfieldWritten by The 5.6.7.8's
Performed by The 5.6.7.8's
Courtesy of Time Bomb Records
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Mansfield 66/7 contains a number of interesting contributors (John Waters, Kenneth Anger) and film academics to convey the fascinating, but tragic, life of Janye Mansfield. The documentary covers good ground, with the Anton LaVey sections and footage being particularly insightful (in fact, I would have liked the film to focus much more on the LaVey/Mansfield connection). As such, the US material is compelling (although some unnecessary animated sequences go a bit off track), but the film then bizarrely splices these sequences with dance and 'drama' scenes produced by a group of Leeds-based performance students. While no doubt arty in intent, these sections of the film are distracting, weird, incongrous, shot in a flat cinematic style that jars with the US footage, and are ultimately really quite awful. Why the producers opted for this approach is a mystery, but the UK scenes only serve to undercut the narrative badly. As such, the filmmakers should have replaced them with further or longer relevant interviews and footage that illuminate the life of Jayne Mansfield in the 1966/7 period rather than indulging in telling parts of the tale through interpretative dance, lifeless sketches, and various Leeds folk leaping and capering about in bad blonde wigs.