“Too delicious to ignore!” Austin Food Magazine
|THE DIGITAL FIX |
"This highly intelligent documentary is a wonderfully weird
watch, and while dressed largely in pink and fluff, it has a lot to say about the
expectations placed upon women, and doesn't take itself too seriously, much like the woman
at the heart of its soul. Mansfield 66/67 is an entertaining exploration about the lasting
impact of myth and the rise of the women's movement. A film full of fun, love and
admiration for the underestimated blonde bombshell, who was original, self-reliant,
determined, and fabulous, and appeared to live her short life to its
"It’s quite a story and, thankfully, quite the movie as well,
emerging as more of an elastic collection of media and interviews that study the wonders
of Mansfield and mystery of LaVey, trying to capture the irresistible camp of the pairing
and pick out whatever reality existed between them."
"The wildly enjoyable MANSFIELD 66/67 plays out like a delirious
hot-pink fever dream."
|THE GUARDIAN |
"American film-makers P David Ebersole and Todd Hughes have
created an unorthodox account of the world of Hollywood gossip and
|DAILY MAIL |
"The documentary has other odd touches befitting its subjects
wild life, such as breaking into bizarre interpretive dance scenes without
"Their colorful, camp approach to the subject of Mansfield
embodies her legacy better than any straightforward documentary ever could. Mansfield
66/67 defies convention, much like the star herself."
|WE ARE CULT |
"MANSFIELD 66/67 is a gloriously entertaining exploration of the
lasting impact of myth, the rise of the Feminist movement of the 1960s and a celebration
of ‘the first reality TV star’."
|VANITY FAIR |
"Strange and unbelievable as it may be, this one deserves a
little shelf space in the memorabilia shop inside your mind."
"Mansfield emerges as a sympathetic
|LOS ANGELES TIMES |
"It’s not an intimate portrait of the woman, but a
celebration of the sex-positive, taboo-breaking image she created for herself and the way
she rocked American culture during a hugely transitional moment."
|HUFFINGTON POST |
"It is a lovely introduction to the quirky Hollywood star who
influenced everything from burlesque and drag to punk rock and whose tabloid-friendly
lifestyle anticipated the current era of reality show madness. "
|LOVERBOY MAGAZINE |
"This whole film is scrumptious, I’ve got a great big
crush on it."
|USA TODAY |
"Ebersole and Hughes smartly use Mansfield's story, and her
connection to LaVey, to ask universal and timely questions about cultural and societal
expectations placed on women...Beyond all of the shocking stories, eye-grabbing headlines
and secondhand rumors, MANSFIELD 66/67 is something incredibly important right now —
believe it or not."
"The perfect Halloween treat"
|ANIMATION WORLD NETWORK |
Documentary Evokes Classic UPA ‘Toons."
|ROLLING STONE |
"Due personaggi tragici (comici) che mostrarono,
involontariamente, la natura rarefatta del culto della personalità, e in quanto a
idolatria Hollywood e i culti religiosi non sono molto diversi."
"Pulpy and playful"
|AUSTIN CHRONICLE |
"A radical take on the tropes of “documentary filmmaking”
and a deconstruction of Mansfield’s insatiable hunger for attention, via interpretive
|THE FARSIGHTED |
"If a film about a gorgeous Hollywood starlet who enlisted the
help of Satan and Anton LaVey to better her life but ultimately died tragically amidst
some looming questions sounds like something you’d like, find a way to see this
|THE WOW REPORT |
"Mansfield 66/67 isn’t just a trip into Hollywood legend, it
lays out a cultural shift in how Americans viewed feminism."
|TROUBLE CITY |
"This documentary is a blast."
|EL CORREO GALLEGO |
"Hughes and Ebersole orchestrate a bacchanal of souls
where the satanic LaVey and Jayne Mansfield switch from the crude sensationalism of the
lurid crime press to the pink panther dance of cartoons."
|NIGHTMARE ON FILM STREET |
anything more delectable than a Blonde Bombshell making deals with the devil? Bring on the
|ENTERTAINMENT WEEKLY |
"See the creation of a camp sex bomb in Mansfield 66/67."
|CINEMA SENTRIES |
"I’ve never seen interpretive dance used as a storytelling tool
in a documentary before, but somehow it fits right in with the 'kooky bombshell meets
devil worshipper' theme."
|AUDIENCES EVERYWHERE |
"Here is a film that embodies the actress it’s honoring.
To quote Bowie: “Wham, bam, thank you ma’am!"
|WHY SO BLU |
"This week we are easing into the soon to be inundated indie
scene with seven new flicks that may provide some fun, fright and fights – and that’s just
the Jayne Mansfield doc! This boisterous and enjoyable doc on dame Jayne Mansfield would
have no doubt been given a thumbs up by the campy on-screen sex symbol if she were alive
|DREAD CENTRAL |
"The film shows how sensationalism and the desire to live in
infamy led to a tragic death that, ironically, became more famous than her storied
career... A great metaphor for the entire decade of the Sixties: tumultuous,
fame-obsessed, and violent."
|EDGE MEDIA NETWORK |
"This oddball movie is wickedly funny and will be loved
by anyone who prefers their cinematic treats as weird as hell."
|BIRTH. MOVIES. DEATH. |
"Though serious contemplation is given toward what
Mansfield and her uninhibited sexuality represents to 20th century culture - popular
culture, sexual culture, feminist culture - the film is never above being a little weird
and silly. It’s a tone befitting its subject, a subject who might well fade from our
general awareness if not for loving, quirky tributes such as
|THE INK & CODE |
"The mixture of film clips and the love with which the
interviewees discuss Mansfield make it easy to see how she captivated so many. Ebersole
and Hughes hook viewers immediately. If you don’t want to run out and watch all her films
afterwards, something much be wrong with you. There isn’t a better celebration of
Mansfield than what’s presented here."
|THE ESTABLISHING SHOT |
"Mansfield defined her era’s sexual ideal the same way
that Kardashian does her generation, flaunting a cartoonish sex appeal and
larger-than-life figure. It makes this new movie not only a fascinating study of history
but a relevant editorial on how fleeting and shallow fame can be in Tinsel Town. No matter
what the decade."
|CULTURE CRYPT |
"You know you’re in for an unusual experience when MANSFIELD
66/67 starts by summarizing Jayne’s entire life in a 30-second song sung by a quartet that
includes a bearded man in a blonde woman’s wig... It couldn’t be more fitting for such a
wonderfully weird story to be creatively captured within such a wonderfully weird
|FORCES OF GEEK |
"P. David Ebersole and Todd Hughes, the team behind the
excellent documentary HIT SO HARD about Hole drummer Patty Schemel, bring you the last two
years in the fabulously extravagant – you can’t make this up – world of Jane
|HORROR BUZZ |
"MANSFIELD 66/67 is the ravenously delectable documentary that
explores the blonde bombshell’s tragic death and the rumors that swirled around her
relationship with Church of Satan founder, Anton LaVey... The result is a clever blending
of fact, romanticized fact, and salacious rumor that sings a paean to the beguiling blonde
and her renegade lifestyle."
|RUE MORGUE |
"Was there a curse on legendary screen sex kitten Jayne
Mansfield? That mystery is explored in an exclusive excerpt from the new documentary
"Jayne Mansfield was a Hollywood starlet who is probably better
known today for her gruesome death than any of her acting roles. A new documentary,
MANSFIELD 66/67, explores the last two years of the actress’ life and addresses bizarre
rumors that she was killed by a curse after a dalliance with a
|MORBIDLY BEAUTIFUL |
"Quirky, tongue-in-cheek, and morbidly humorous ...
filmmakers Todd Hughes and P. David Ebersole openly admit that the majority of their film
comes from rumor, hearsay, and tabloid press clippings. This fun, unique approach makes
MANSFIELD 66/67 entertaining, and the fact that a lot of the footage is intercut with
animations and musical numbers only adds to the amiable appeal."
|366 WEIRD MOVIES |
"Approaches the documentary genre from left field.
|KILLER REVIEWS |
"The folks behind this documentary are just the right sort of
people for the job. In actuality, this film is far more grounded in reality than one might
expect from its premise or promotional material."
|SCREEN ANARCHY |
"Simply put, there is no shortage of fun ways by which this film
engages with its audience."
|HOLLYWOOD REPORTER |
"A bright and bouncy primer on the short, chaotic life of
ill-fated sex-bomb Jayne Mansfield."
"‘Mansfield 66/67’ Trailer Examines Jayne Mansfield’s Interest
in Satanic Rituals and Her Untimely Death"
|SCREEN DAILY |
"The film represents, for all its lurid jazziness, a serious
attempt to get beneath the surface of the Mansfield myth."
|HORROR TALK |
"A fascinating glimpse at what might be Hollywood’s most
|SIGHT AND SOUND |
Ten of the best at FrightFest 2017
|POV MAGAZINE |
"It’s a fun, bubbly adventure that captures Mansfield’s
|BLOODY DISGUSTING |
|CINEMA AXIS |
"Works perfectly! It is a treat."
|EYE FOR FILM |
"Part-documentary, part-performance art piece, everything is
|FILM DE CULTE |
"Mansfield 66/67 ne met jamais de côté la fantaisie et ne se
prend pas au sérieux, mais parle sérieusement d'une icône, pas seulement du cinéma mais de
la culture américaine, une Aphrodite des 60s so hot she's banned in
|FLICK FEAST |
"Marvellously camp and fascinating."
|JB SPINS |
"There is plenty of true-enough dish to make anyone’s head
|QUEER GURU |
"Bizarre and totally fascinating hybrid of a film.
|SAN FRANCSICO BAY TIMES |
edits film clips...as well as news footage, animation, and even interpretive dance, to
provide an entertaining story of Mansfield’s glamour and
|SCHOKKEND NIEUWS |
"Dat alles resulteert in een vermakelijke en doortastende
documentaire die gaat over onze obsessie voor onwerkelijke iconen en de bijna mythische
verhalen die zij inspireren."
|SCI FI NOW |
"A postmodern hall of mirrors."
|KIM NEWMAN WEBSITE |
"It’s a freewheeling documentary that goes off on all
sorts of entertaining tangents."
|REVIEW BYAL |
"It is fascinating."
|MOVIE RAMBLINGS |
"An enjoyable romp around rumour and conjecture from a range of
|DANGEROUS MINDS |
"As if sex, violence, and black magic weren’t enticement enough,
will you look at the talent! By God, I feel that old itch in my popcorn hand."
|THE HOLLYWOOD NEWS |
"Visually, it’s a delight; the colour-palette is vibrant
and pulpy and there is an energy to the bright, lurid aesthetic."
MANSFIELD 66/67 is about the last two years of movie
goddess Jayne Mansfield’s life and the speculation swirling around her untimely death
being caused by a curse after her alleged romantic dalliance with Anton LaVey, head of the
Church of Satan.
This is a true story…based on rumour and hearsay.
2017 marks the 50th
anniversary of Jayne Mansfield’s fatal and legendary car crash, yet we still are left to
wonder: was her life spinning out of control in the last two years of her life, or...did
the devil make her do it?
Even knowing how the story ends, who could resist cheering
for Jayne Mansfield (the king-sized over-the-top punked-out Marilyn Monroe who became the
ultimate atomic-era sex-kitten-gone-berserk) as she navigates the cultural and spiritual
landscape of a quickly changing world in the mid-1960s?
Defined by her hunger for
publicity, on the one hand Jayne was Hollywood Babylon made flesh, with five kids, three
messy divorces, and a lurid death that may or may not have been caused by a Satanic curse.
On the other hand, she had perfect comic timing, 163 IQ, spoke five languages and was
outspokenly anti-war, making her impossible to categorize, though the headlines that her
wild life inspired certainly tried: Can A Sex Siren Be A Good Mother, Love Goddess With A
Jinx, the Smartest Dumb Blonde...
And then there was her reported affair with Anton
LaVey, head of the Church of Satan. The handsomely devilish Anton started his “church”
with a publicist and preached a live and let live lifestyle. “If you’re going to be a
sinner, be the best sinner on the block,” said Anton and that was music to sex-positive
Jayne Mansfield’s ears. Unfortunately, her then-boyfriend lawyer Sam Brody was sent into a
jealous rage and desecrated sacred Satanic talismans in Anton’s lair, prompting a curse to
be put on his head that he would die in a car accident within a year. In 1966 and 1967,
Jayne and Sam proceeded to have seven fender benders and near-fatal smash-ups until the
one that tragically took both of their lives in a bizarre crash where reporters said
alternately Jayne was either beheaded on impact or wig-scalped.
Welcome to MANSFIELD
66/67, a true story based on rumour and hearsay, where classic documentary interviews and
archival materials are blended with experimental dance numbers, performance art and
animation, elevating a tabloid tale of a fallen Hollywood idol into a celebration of the
mythical proportions of a true original.
by P. David
Ebersole & Todd Hughes
As children growing up in America in the 1960s,
we both had heard the story of Jayne Mansfield, the beautiful blonde movie star who was
decapitated in a horrific car accident while her children slept in the back seat. Todd
remembers his mother telling him that the actress was dabbling in black magic, and that
she had been a nude altar at Anton LaVey’s Church of Satan in San Francisco. True or not,
these stories conjured up forbidden images of the naughty adult world of swingers. David’s
mother was deeply involved in sixties feminism and the end of the era of the blonde
bombshells carried a whole different connotation. So, with or without the added layer of
LaVey’s roguish brand of Satanism – a playful Hefner-esque Playboy After Dark dabbling in
the dark side – Jayne’s life and death proved to be a mutual obsession for us...offering
insight into the changing world we lived through as young men. If our parents were formed
by their rejection of the picket fence lives of the 1950s, ours were shaped by the way in
which that generation insisted on breaking down societal norms and constrictions. Jayne’s
uneasy intersection with that moment of American history meshed perfectly with our common
interests in people who live as outsiders, especially those who experience a questioning
of faith and how that expands an acceptance of mans’ multiplicitous nature, be it
expressed in sexually adventurous behavior or non-traditional paths in life. All very
heady thoughts when you are talking about an alleged affair between a woman known best for
having the body measurements of 40-21-35 and a man who liked to wear plastic devil horns
and a red cape to impress girls! But such is the wild world of Jayne Mansfield because
everything Jayne naturally feels larger than normal life.
Together, for close to twenty
years now, we have researched and collected Jayne and Anton literature and artifacts
trying to piece together this mysterious story as a narrative feature script. And in that
time, of course life happens, so we made other projects including our first non-narrative
project HIT SO HARD, about Patty Schemel, the drummer of Courtney Love’s band Hole who
ended up homeless on the streets of Los Angeles. After the success of our next documentary
ROOM 237 (which we executive produced), a film exploring subjective interpretations and
perceived meanings of Stanley Kubrick’s film THE SHINING, we were next tapped by superstar
Cher to tell her family story in DEAR MOM LOVE CHER for Lifetime. Three films in, we
decided we may indeed now be documentarians, and so why not tackle the story of Jayne and
Anton that we remained so fascinated by as a documentary?
But we found ourselves not
very interested in the “simple” idea of making a exposé where we were might try to dig
past the rumours and legends to expose the absolute truth, but rather found ourselves
fascinated by creating a celebration of the storytellings and spectacles which have
ingrained themselves into the lore and accepted truths of Hollywood Babylon. For instance,
although it has been disproven many times, many people today still insist that Jayne
Mansfield was decapitated, preferring to hold on to the gory hearsay in lieu of accepting
the reported facts. Why? What is more interesting about that which may not be true but
lives on in the collective unconscious?
First, we set out to interview subjects with
not just first hand experience of either Jayne or Anton, but hopefully people who might
hold deeper thoughts about either or both of them and/or their alleged relationship with
each other. Much like how we stayed away from anyone directly involved with Stanley
Kubrick in our ROOM 237 documentary because the interest was in the obsessive nature of
the subjects more than in proving whether or not what they said was “true,” here we
likewise did not interview family on either side in hopes of keeping the conversation
about the way in which a story like this lives with the audience, who is less interested
in proof per se and more interested in what it means to them to believe it.
out to find contemporaries who may or may not have been their colleagues, artists who
expressed being influenced by one or the other, theorists and feminists who might have a
take on it all, film scholars who could put their careers into context with each other,
experts in Hollywood gossip -- essentially a melting pot of people who could only comment
on what they heard rather than who could, say, confirm the veracity of the stories being
On an artistic level, we felt that telling this as a “true story based on rumour and
hearsay” required that we created our supporting material in the same vein. This is what
inspired us to use what we call emotional dance numbers and experimental film and
performance sketches to ruminate and try to understand the extraordinary circumstances
which lead up to Jayne’s tragic death.
Further, in lieu of recreations, we attempted to blur the lines of realness by having over
fifty actors and dancers portray Jayne in various fantasized interpretations of her life.
This approach gave us the freedom to create imagined nights on the Sunset Strip, secret
meetings between Jayne and Anton, conflicts between her lovers, and even whimsical period
animation to illustrate two key moments that otherwise only live on in memory and
retellings of events in her life circa 1966/67. The idea is to “explode” what might be
called the usual documentary approach, all in an effort to explore the psychology of the
changing times and the mythology of the larger culture through the story of Jayne and
Anton, to envision ourselves into the head space of these, in our opinion, early pioneers
of enlightened thought and revolutionary behavior.
Borne out of our long and fruitful collaboration with cinematographer/producer Larra
Anderson, we were able to achieve this fever dream of an idea through a unique
collaboration with Leeds Beckett University’s School of Film, Music & Performing Arts and
The Northern Film School. As luck would have it, when it came time to explore these ideas
and film them into reality, Larra and her university were able to invite us to come as
visiting artists-in-residence. The school provided The Ebersole Hughes Company the
opportunity to work with their faculty and students (over 100 participants in all) as part
of what we are happy to say turned out to be a very successful research project for the
renowned Yorkshire institution.
And thus, MANSFIELD 66/67 was made!