The unwittingly comical actress and sex symbol Jayne Mansfield (1933 – 1967) was launched by Hollywood in the late 1950s in response to Marilyn Monroe and quickly specialized in dumb blonde roles, although there are those who say that she was not a dumb one, that she spoke five languages and that she even knew how to play the violin. Things went moderately well for her until the early 1960s, when her exaggerated femininity, her boating dorky roles, and her trademark insufferable screeching ran smack into feminism and the fledgling nation. from Woodstock. He married three times (one of them to the bodybuilder Mickey Hargitay, who also made his first steps as an actor), had five children, put on weight and gradually became a rather ridiculous and outdated character whose eccentricities were no longer funny (like his mansion painted pink and the Cadillac of the same color with which he circulated around Los Angeles). In the mid-1960s, when he no longer knew what to do to recover his lost brilliance, he befriended the founder of the Church of Satan, Anton Szandor La Vey (1930 – 1997), whose father was Russian and mother Ukrainian, who was called in reality Howard Stanton Levey (Miss Mansfield’s real name, by the way, was Vera Jayne Palmer).
Although he considered himself the most evil man in the world (as the British Aleister Crowley, another devil’s clown, had done years before), Mr. La Vey has gone down in history as a curious monstrosity eager to stand out. The relationship between the actress and the satanist is the center of a fun documentary that can be seen on Filmin and that I fervently recommend to all devotees of junk culture. Mansfield 66/67, led by Fr. David Ebersole and Todd Hugues. The meeting between two beings as crazy as Jayne and Anton can provide many moments of solace to fans of the cutest stories in the Hollywood universe.
The Curse of the Vey
For years, the legend spread that the car accident that ended Mansfield’s life was the result of a curse placed on her last boyfriend, a roguish lawyer named Sam Brody, by the sinister Anton La Vey. The relationship between the three began with a visit by Jayne and Sam to the Church of Satan (the house that Anton had inherited from his late parents and that, after being painted black, served as the headquarters of his grotesque organization and the stage for masses). black and the like), an idea of the cunning Brody to return his girlfriend to the limelight (such as sending her to act in Vietnam for the American soldiers, an event that ended like the rosary of the dawn, just like in the famous sequence of apocalypse now, because of how hot the star made the recruits). During that visit, Brody indulged in some wry comments about his host and his church, which earned him an eternal curse (along with advice to Jayne that he never get in a car with the lawyer in question). When the Brodys died eating a truck in front of themWord spread that La Vey’s curse had been fulfilled. In any case, this was the end of the strange career of a Marilyn impersonator who had never done very well.
Jeanne Mansfield, in the documentary ‘Mansfield 66/67’ / FILMIN
Heroine camp and icon of the gay community, Jayne Mansfield receives a peculiar tribute in the documentary by Messrs. Ebersole and Hugues, which includes, in addition to the inevitable archive material, interviews with filmmakers given to gossip such as John Waters or Kenneth Anger, film historians and gossip professionals and even some feminist intellectual (There are also strange dance numbers and even cartoons to reconstruct unfilmed situations). The result is very entertaining and even respectful of an actress who never tried very hard to be taken seriously, despite the five languages and the violin. As the documentary suggests, Mansfield was always more concerned with appearing, putting on airs and being famous than she was with improving herself as a professional of her own. And if her three husbands did not help her choose the best path, her last boyfriend, this Brody, was revealed as a jinx that led her to make the worst decisions of her life (with the help of alcohol and the pills with which the diva was stuffed).
We are, in short, before a story of the craziest side of Hollywood, which can also be the most fun. In this sense, centering production on the relationship between a femme fatale of parody and a supposed satanist who only wanted to go out on TV and deal with the celebrities of the cinema turns out to be a great success, because it saves the viewer (in case he gave it that way) from reviewing the many bad movies that poor Jayne shot and reading the delirious books that good old Anton wrote. That yes, those who do not feel the slightest interest in trash culture and the trash of Hollywood, it is better that they do not come for this fun documentary that is Mansfeld 66/67.