RAY SANTILI -Alien Autopsy Divides UFO Communion


Nothing has divided the UFO-communion as much as the Santili-film.
And nothing has surfaced that proves the film to be genuine. Only “paid off” statements from people gaining money on the situation and sceptic professionals within pathology and FX has spoken on the film. And the fact that some UFO-associations is helping to sell the film against a %-deal in provision from Merlin Productions, which is Santilis company in London, leaves a smelly trail of a sell-out.

Jörgen Westman

Many are the rumours around the famous Santili-autopsy-film. And I feel that it’s time for an update of the sticky stream of statements around it.

Turners syndrome

William Moore comes forward with this hypothesis:
The creature on the autopsy-table can suffer from the Turners-syndrome.
According to Moore, the syndrome only attacks females. He tells us that the disease exploded in a village in a remote part of Brazil in the 60’s, due to in-breeding. A B-Sci-Fi cameraman filmed the autopsy of two of the victims and that it is perhaps that film we now see as the Santili-film.

The Truly dangerous Company is a sceptic association (?) on the Internet who has put much effort to explain the hoax behind the film. First of all they have shown how easy it is to make a doll who looks and acts like the creature in the Santili-film.
One of their thesis, along with the FX-thesis, is that the person on the table has come down with the rare disease off Hutchinson-Gilford (see picture).

Santilis never ending changes of the story…

Lately Santili has changed course from connecting the film with the famous Roswell-crash, to say that it’s probably from a crash that happened a month earlier near Socorro, New Mexico, west of Roswell and very close to the San Augustin Plains where Stanton T.Friedman claims a UFO crashed first week of July 1947.
Besides to lean on this new thesis Santili released copies of the sticker of the cans in which the film-reels (23 of them) were delivered (see picture). On them you can clearly see that the raw-film was developed in June and not July (when the Roswell-crash is supposed to have occured). Why haven’t he realised this until now? He’s been getting very much help from BUFORA:s chairman Philip Mantle, who should have realised something was very odd about the Roswell-story… Stanton T. Friedman claims, ofcourse, that the film is a hoax – Socorro isn’t mentioned in the MJ-12-documents. There the first crash is the Roswell-crash.

The man who bought the (supposed) two autopsyfilms has shown to be a German porno-producer named Volker Spielberg (no connection with Steven.red). And in the highly entertaining sceptic-e-zine Saucer Smear it is claimed that Billy Meier-admirer Wendelle Stevens has been involved in promoting the film…

Bob Shell

Santili has been accused of not being willing to release parts of the film to be examined for time and date of the origin. Everyone is still waiting (if you haven’t allready decided that it’s a hoax that is) for Kodak, who has produced the raw-film, to recive frames so that their experts can determine if the film is made in 1947, or at least manufactured before the incident was supposed to have happened. Santili didn’t do it quite like that… He claim that he has turned to several private photographic-experts.
One of those is Bob Shell (no one else has stepped forward – if they exist..).
In an interview in the e-zine Wally World UFO Shell claims that the raw-film is either produced in 1927 or 1947, and not 1967 (as it has been suggested in several papers). Why? Well, appearantly Kodak changed the develope-process in 1957 regarding all 16 mm film. They also changed the chemicals in the raw-film and those chemicals can’t be found (according to Shell) in the 3 (!) frames Santili has given him (see picture to the right) with the conclusion that the film must be produced before 1957. But there is absolutely nothing that says these 3 frames are taken from the actual film-reels…
Shell says that he has another round of frames (3 more) which shows the empty autopsy-room before the filming is taken place. Why aren’t we allowed to see that? And why film an empty room? Things should have been quite caotic… Is there discrediting stuff on those 3 “empty-room”-frames?
Another explanation Shell has to why the film must be genuine is that it’s impossible to find the developing-chemicals today that was used before 1957. With other words – you can no longer develope a film that old. But any chemistry-student at all can find the recipe (maybe from Kodak) and duplicate the chemicals needed.
I think I should add that Bob Shell is the only person who has Santilis permission to write a book about the verification of the reels… Maybe the book is allready released (who cares?), but inside it you can also find the story from the mysterious camerman J.B. Once again – a paid off judgement!

Bell & Howell C Printer

(*Picture: One of several photos from the s.c. Morgana stills which somebody left to BUFORA late last year. origin still unknown…)

Another filmexpert is Clive Tobin.
He’s been in the developing-industry for 20 years and says that he can, various technical details, see that the film is a copy produced in something called Bell & Howell C-printer. This film-copy-machine was not on the market until 1960…

Santilis own explanation to why he haven’t released any “frames” with the creature on is because he thought they’re to expensive! The man has over 20 reels of film, which is thounsands of frames, shouldn’t he be able to spare one to determine if the film is genuine or not? Bullshit!

What about the stickers on the cans? Can’t they lead us to determine how old the film is? No! Santili says that he gave back the original cans to the man who sold him the film (if it was to the cameraman or Spielberg isn’t definitioned) so what we now can see is only copies. If a person pays $100,000 for a film usually you get to keep the cans… Besides, it’s rumoured that FOX-TV in US paid Santili over $200,000 for the exclusive. That’s a pretty good investment when you consider that Santili claims that the FX-appearance of the film is out of the question because it would cost to much to produce (it’s been suggested to have cost around $200,000 – if they are FX)…

By the way, the proclaimed abduction-star Betty Hill says that she “knows” that the film is genuine.
– If you have met them personally, you know the film is real!, Hill says.

Another thing that makes the whole case even more suspicious is the question of the sprocket holes.
In the 40’s Bell & Howell Filmo kameran was the most common within the military. As the camera must have film with perforation on both sides Tobin checked it up if that was the case with the frames Bob Shell has in his posession. Shell then tells us that one side of the film was torn off when he recived it from Santili… (see picture). Though Shell that the big roll of film the engelske TV-producer John Purdy recived from Santili is supposed to have perforation on both sides. John Purdy hasn’t spoken on this (at least what I know of).

Santili has left a piece of film to Kodak. According to Kodak-employee Jim Blamphin Santili left 5 centimeters of white “feeding-frames” (It’s the blank part of every reel to feed into the projector-system.) The “feeding-frames” had perforation on both sides and was produced either 1927,’47 or ’67 (seems like Kodaks own personal haven’t heard of Shells dismissal of ’67). But to be able to determine the real age of the film he needed frames with the creature which the German owner Spielberg refused to contribute.

Another “missing” part is the autopsy filmed in a tent at the crashsite that Santili said was supposed to come out for all to see, despite that Philip Mantle (head of BUFORA), Reg Presley (f.d. member of the rockgroup THE TROGGS and selfaclaimed crop-expert) and Colin Andrews recived a video-copy as early as January 1995… The quality of the film is very poor and shows some kind of autopsy on a creature which is much thinner and has longer arms and body than on the released video. On the video-copy watched by the English paper Sunday Times there was a secrecy-code in the lower half. When the paper made research and disputed the code – it was removed when the next person, John Purdie at Union Pictures, saw the sequence! And these secrecy-codes wasn’t used by the military either…

The cameraman speaks…

(*Picture: debris-piece from the Santili-film showing I-Beams)

At the end of last year the supposed dead cameraman (calls himself SAC) went public with his story in a – Dutch paper!

According to him – the crash on the film is from June 1947. The recoverage of the craft and bodies went under the name Operation Anvil.
One thing, in all of this, that is confusing is that Santili last autumn claimed that the cameraman died on August 3rd 1995 in Los Angeles…
Santili has earlier claimed that the cameran had the initials J.B. The French journalist Nico Mailard put much effort in his search for this J.B. Mailard found 3 that could fit the with the description of J.B.. Santili has said that he came by the film while he searched for early, highschool-film of liveappearances by Elvis Presley. Mailard did indeed find a J.B. in a Elvis-book who had filmed some highschool appereances with Elvis back in 1955.
This J.B. unfortunately died in 1967. He was a war-correspondent for NCB during WW II, but was never in the military. Now Santili says that he only made the name J.B. up to protect the identity of the real (?) cameraman – SAC. He must have gone through a lot of effort and research to find the name J.B. to confuse us with…

Also, it should be mentioned that the discjockey Bill Randle sold Santili two live-films of Elvis in July 1992 – and NOT in 1993 as Santili claims (at the same time as he was offered to buy the Autopsy-film by the same Jack Barnett – J.B.).
Besides, the cameraman claims that he was stationed in Washington and were flown to the crashsite – a trip of nearly 1900 miles which in 1947 should have taken at least 10-12 hours to travel! Do you think that the military would stand there and wait for the cameraman before they could wrap things up? I don’t. Besides, the military usually used colour-film to medical documentation… And in the latest issue of the Swedish UFO-magazineUFO Aktuellt you can find a very interesting article by Kent Jeffrey of the Rowell Declaration, where he states that the sticker-copy of the can showes several contradictions as: sticker-code “85 filter” says the film to be in colour (Santilis in b/w) and that the light and focus was totally wrong, the craftmanship (cameraskills) is terrible (why fly a person for 1900 miles if he is worthless?) although it’s a good camera (Bell and Howell model 70) and finally – the handwriting looks very Europan…

SAC now claims that he filmed the autopsy in July, a month after the crash. At the crashsite (June) he filmed the wreckage and four “freaks”. Followed three weeks later at Wright Patterson where he filmed the debris for 3 (!) weeks. SAC says that again in 1949 he was chosen to film a 3rd autopsy.

There’s been discussions that the phone in the Santili-film wasn’t invented in 1947. On the photo (see right) is a Bell Western-model of a telephone which was very common in freighttrains in 1948. It’s almost the exact model that is found in the Santili-film. And it has the same “curved” cabel. (Photo from Stanford University-archives).

Okey, what does all these contradictions tells us?
Well, one thing that speaks in favour of the film to be genuine is that no one has come forth and proved it as a hoax. But on the other hand, the video is raising so much money that silence can be bought even if many people must have been involved in the making of the hoax. The things that speaks against the film to be genuine is Santili himself. He is changing his story from one interview to another och has up til today refused to work with appropriate experts to define if his film is “real” or a hoax. I guess If Santili won’t tell – only time will.

Robert Morning Star

As some people says the best evidence against the Santili-film is the I-Beams that is shown in the video (their letter/symbols have an peculiar assemblence to the word “V-I-D-E-O O TV”…), in the March issue of Encounters there’s an article about half-Hopi-indian Robert Morning Star and his work with deciphering the “I-Beams”.
Robert says that he recognized the symbols but couldn’t place them. But one day he, by mistake, turned the picture of the symbolsm up side down and suddenly it all fell into place.
Hopi-indians proclaims to be originated from the ancient legend of “starpeople” and Robert also claims that the Santili-film is “the real thing”. He says that the signs looks much like the pre-historic symbols used by Phoenicians, Egyptians och Greeks used. He also belives that these pre-historic symbolic-languages are reminants of “alien-civilisations” here on earth.


The translation (according to Robert Morning Sky) is:
(T-Q/kh-S) Those who are warriors…
(B-K/Kh-DT) Those who are hawk godess…


Source Credit: http://www.ufo.se/ufofiles/english/issue_1/uksantil.html