Alien Autopsy(redirected from AA Film)
If this film of an alien autopsy being secretly performed by U.S. government doctors is authentic, it is the most important footage ever made in the history of motion pictures.
London-based film producer Ray Santilli claims that he had never heard any of the stories about the crash of an extraterrestrial vehicle near Roswell, New Mexico, in June 1947, nor was he at all familiar with the rumors of dead aliens strewn near the wreckage. He happened to be in Cleveland, Ohio, in the summer of 1993 in search of some rare footage of Elvis Presley, never imagining that he would have an opportunity to purchase some even rarer film of a major cosmic event.
According to Santilli, an elderly freelance cameraman who had shot the footage of Elvis for Universal News in the summer of 1955 sold him the three-minute sequence of Presley, then offered to sell some very different material that he had filmed during his time in the military. The cameraman, now in his eighties, explained that the footage came from the Roswell crash site and that it included some incredible images of the autopsy of one or more aliens from the flying saucer.
Although ignorant of the Roswell incident, Santilli became interested in the alleged alien autopsy. The cameraman didn’t appear to be a nut or a scam artist, so Santilli agreed to view the film. When they arrived at the man’s home, the veteran cameraman put a reel on an old projector and projected the images directly on the wall.
What Santilli witnessed in the old cameraman’s home in Cleveland in 1993 is allegedly what millions saw on their television screens on the evening of August 28, 1995, on the Fox network’s “Alien Autopsy: Fact or Fiction?” At first the images are hazy, but then the viewer sees, lying on an autopsy table, what appears to be a smallish humanoid with a swollen belly (with no navel), huge dark eyes, a damaged right leg, a broken and swollen left leg, a cut-off right hand, and a bruise at the temple. Soon the pathologists are cutting the creature open and removing body organs that appear to be from an alien species. The entity resembles a human being in many ways, except for its innards—and its twelve fingers and twelve toes.
Santilli said later that he thought the footage incredible and offered immediately to buy it. The cameraman told him that on June 2, 1947, he had received direct orders from General Clement McMullen informing him that there had been a crash in the White Sands area and that he was to go there immediately and film everything he could. Santilli came away with twenty-two reels of film, twenty-one safety prints, and one negative.
UFO researchers were arguing about the controversial film long before it was shown on Fox. Many condemned it outright as a hoax because the alien looked too human to be an extraterrestrial or in some way didn’t fit their conception of how an alien Roswell crash victim should look. Others championed the footage and believed that it would convince millions—and most of all the scientific establishment—that UFOs from outer space were visiting Earth. Some UFOlogists argued that in their opinion the alien in the autopsy room could not have come from the Roswell crash, but had been retrieved from an early UFO crash site near Socorro, New Mexico. And then there were the purists who were offended by the very thought of commercially exploiting what could be the most important film of the century.
An analysis of the film confirmed the elderly cameraman’s claim that the autopsy footage had been shot on vintage 16mm film and that it had likely been filmed with a Bell & Howell Filmo Camera, favored by the U.S. military in the 1940s. Samples cut from a number of leaders from the film and sent for analysis to Kodak labs in Hollywood, London, and Copenhagen revealed identifying symbols used by Kodak from 1947 to 1967. Bob Shell, editor of Shutterbug magazine, was given two segments of three frames each of the autopsy room footage. Shell, a photo technical consultant for the FBI, confirmed the snippets to be pre-1956 film.
As far as the props used in the autopsy footage, every artifact appears to date from circa 1947. The telephone is an AT&T model from 1946. The wall clock is a model popular since 1938. The instruments utilized in the autopsy itself were confirmed as standard for the time period by Dr. Cyril Wecht, a highly respected forensic scientist, ex-president of the American Academy of Forensic Sciences.
While the props check out as accurate, researchers have many problems with the alien corpse. In this time of remarkably realistic special effects in motion pictures, even the most earnest defender of the authenticity of the footage has to concede that it would be no problem for a Hollywood makeup specialist to create a realistic alien body. Is the badly mutilated corpse on the autopsy table that of an extraterrestrial space traveler, a young female human with polydactylism (having more than the normal number of fingers and toes), a young polydactylic female human who died of Turner’s syndrome, or a foam rubber model of a young female with polydactylism, Turner’s syndrome, and other anomalies?
Turner’s syndrome affects about one in every 2,500 females, and a deceased victim of the syndrome was named by many physicians as a likely candidate for the “alien” on the table. The identifying characteristics of Turner’s syndrome are short stature (a mean height of four feet seven inches); lack of secondary sexual characteristics; medical problems, such as ear, eye, thyroid difficulties; secondary features such as low-set ears, low hairline, webbed neck, and puffy hands and feet. Because of such characteristics being evident in the “alien body,” many pathologists did not believe that they were seeing a dummy in the autopsy footage.
On the other hand, there were a number of pathologists who did not believe that they were seeing either a dummy or a human being in the autopsy film. Professor Christopher Milroy, Home Office pathologist, University of Sheffield, commented that although the close-up of the entity’s brain was a bit out of focus, it did not have the appearance of a human brain. Professor M. J. Mihatsch of the University of Basel, Switzerland, admitted that he could not identify as human any of the organs the doctors in the footage removed from the alien. Wecht, famous for his testimony in such trials as those of O. J. Simpson and Scott Peterson, said that he could not place the organs in a human abdominal context and could not associate them in any way with the human body as he knew it. Professor Pierluigi Baima Bollone, University of Turin, concluded that there was not one single organ that in any way resembled any human organ. In general, there seemed to be a consensus among pathologists all over the world that the body on the table was not a dummy, but that of some biological being, extraterrestrial or not.
The controversy over the alien autopsy film is not likely to fade away. Some researchers consider it the most ingenious hoax of the century; others laugh and wonder that any UFO investigator could take the footage seriously. According to some investigators, Ray Santilli continues to make controversial statements about the origins of the film and has perhaps inadvertently done more damage to his own credibility than all the debunkers’ efforts to prove him a scam artist combined. From his arrival on the UFO scene, Santilli demonstrated his ignorance of the field of research and his lack of respect for all the unwritten protocols of the UFO community.
The conspiracy theorists will always have the last word on any subject. For example, in the mid-1990s rumors circulated that famous Hollywood director Steven Spielberg had managed to acquire the Holy Grail of UFO research—actual U.S. military footage of the 1947 flying saucer crash outside of Roswell and the dead alien crew. According to the rumor, Spielberg purchased the film from a retired army cameraman who had kept it hidden for nearly fifty years. Spielberg intended to use the remarkable footage in a new motion picture, Project X, to be released in June 1997, the fiftieth anniversary of the Roswell incident. When no such film was forthcoming and June 1997 came and went without any blockbuster Spielberg UFO presentation, the rumors died.
Then at last it dawned on certain UFO researchers and conspiracy buffs: For some reason, perhaps due to the machinations of the New World Order or some shadow agency of the U.S. government, Spielberg had backed away from the project. Although blocked from informing the public about the extraordinary film, he had managed to get it to Ray Santilli, who, with the Fox network, revealed it to the world on August 28, 1995.