Opponents of the existence of alien spaceships demand: "Show us a film or photographic document that unambiguously speaks about the reality of an alien invasion!" There are hundreds of such documents, but the opponents of ufologists categorically do not want to see them.
The most powerful blow to the skeptics was the so-called Santilli film. These are several clips of semi-professional film, bought by an Englishman of Italian origin, Ray Santilli, from an anonymous seller, a US citizen, allegedly a participant in the filming of the UFO crash site near Roswell in 1947 and the autopsies of two aliens.
From the very beginning
Santilli is not a ufologist, but just a business man who knows how to make money in the film business. He buys rare films, for example, working filming of movie stars left behind the scenes, and sells them for a profit. A small nuance: in order to be successful in this business, it is categorically impossible to trade in fakes, otherwise you will instantly run into very big troubles - both for money and worse, up to imprisonment.
Offering tapes of alien miracles for sale, Santilli was absolutely sure of the tape's authenticity. Let's take into account: to buy the tape, he borrowed 150 thousand dollars from the German entrepreneur Volker Spielberg and was obliged to repay this money and, naturally, he planned to make money on this deal. At the slightest risk of being caught in falsification, Santilli would simply drown in a sea of trouble. But he did not raise an eyebrow when a pack of skeptics rushed to criticize his film.
Critics start and fail
Promotional video:
“Of course, a fake! Made on the knee in an underground studio! " screamed countless critics. However, in order to challenge the authenticity of a documentary, one must start with the film on which it was filmed. Film - "Kodak Super XX", perforation coding - square and triangle.
The Kodak specialist did not even think about the answer: "square and triangle" is the encoding of the film produced in 1927, 1947 and 1967. Then the marking system changed. But how to localize the moment of release of the film? Which year exactly?
It turns out to be easy. Progress did not stand still. In the 1920s, Kodak sold celluloid-based films, in the 1940s, acetopropionate, and in the 1960s it was replaced by triacetate. The company sought to minimize the fire hazard of the film. Celluloid burns like gunpowder, acetopropionate is worse, triacetate practically does not burn. So, the Santilli film is made of acetopropionate. It turns out 1947, whatever one may say …
But maybe the money-hungry Santilli found an old film from 1947 somewhere in a warehouse of illiquid assets and removed a clever fake on it? Again, it does not grow together. "Kodak Super XX" is an especially high sensitivity film designed for shooting in low light. The payment for light sensitivity is a short "life" time, in just two years the photographic film completely decomposes even in a sealed box. Haven't used film in two years? Throw it in the trash can. Conclusion: Santilli's film could only have been filmed between 1947 and 1949.
Is it possible to steal a top-secret movie from Uncle Sam? Oddly enough, yes. This is facilitated by the super-super-secrecy of the shooting. The author of this article worked at sensitive facilities and with the procedure for carrying out various instrumental, including film, photo, video measurements and recordings, is familiar firsthand. Film, photographic plates, audio and video cassettes are always issued to the performer by the storekeeper strictly for recording, and are also accepted, and all this remains in the office books, and it is very difficult to "hide" at least a frame! And the violator will be seriously punished. No, they will not be shot or even imprisoned, they will simply be kicked out of the project to an ordinary position that is not related to serious work. And this is such a bitter and insulting slap in the face that a self-respecting employee will never violate the secrecy regime.
But "super-super-secrecy" … In this mode, the number of participants, not even initiated into the secret, but who have been "close to the secret", is reduced to a minimum. As they joked in our naval special forces, "even three can keep a secret if two of them are dead." Jokes aside, but if only one person knows about the existence of a document (the same film), nothing prevents him from getting his hands on this document.
When the "super-super-secrecy" mode is on, the intelligence acts like this: the operator puts on civilian clothes and buys the film in a regular store for cash. After the purchase, there is only an imprint on the cash register, which after a monthly check by the tax authorities will end up in the trash can. Everything, ends in water, nowhere, in any registers there is not a trace of money spent on film (paper, cassettes, etc.). No names, no bank details.
Further. The operator works, develops the films and sends them to Washington. However, some films, due to poor shooting conditions, require special development conditions, for which the operator does not have time - he is in deep and continuous time trouble. He marks boxes with such films and leaves them for later. How much film was purchased, how much is due for delivery - no one knows except the operator. As a result, he had 5, or 15, or 25 boxes of film left. He manifests them and calmly keeps them for himself. And many years later, the operator finds a buyer for a good product.
Beating your forehead against an iron wall
And the critics did not calm down. And each time they banged their heads against the wall of irrefutable facts. So, for example, in the frame there is a telephone with a spiral cord of the "pig's tail" type. Skeptics happily declared that in 1947 there were no such devices yet.
- Yes, we have been producing such devices since 1946, - said engineers of the ATT company phlegmatically. - And the first to buy these toys from us were the warriors! It also ended an attempt to challenge the authenticity of the surgical instrument kit used by the physician performing the autopsy on the alien.
“The standard set of tools for an army surgeon in the 1940s,” commented experienced US Army military doctors. - By the way, chemical protection overalls are also the most common for the 1940s. (In the frame, wearing this clothes is a doctor.)
- Shooting is wrong! - there were skeptics. - Short stubs of tape, there is defocusing, here the exposure is lame! Explicit fake!
“This is Bell Howell, the standard army hand-held movie camera of the 1940s,” the old military cameramen shrugged their shoulders. - It starts with a key, like an alarm clock, and works for 30 seconds. Then a re-factory is needed. And it does not have autofocus, when changing the plan, you need to change the lens, which cannot be done in a hurry. And if the operator is wearing a chemical protection suit - say thank you that he even groped the viewfinder and caught at least something in the frame! So the claims of especially clever critics to the quality of the shooting collapsed.
What's in the bottom line?
And the bottom line is a film document, the authenticity of which hundreds of critics could not dispute - neither in terms of filming technique, nor in terms of the practice of pathology, nor in terms of historical accuracy.
Today it is absolutely indifferent what the person who launched it into scientific circulation, Ray Santilli, says about the film. The document took on a life of its own and no longer needs someone's evidence of its authenticity. And old Ray knows this very well, and therefore with a light heart says that the film is a fake. What is it to him? He had already repulsed the money borrowed from Spielberg, and besides that he earned excellent money, but the problems of ufologists do not bother him.
But all the facts prove that this is a film filmed in 1947 by a 1947 camera under conditions corresponding only and exclusively to 1947, which captures an autopsy of a creature that does not belong to the animal kingdom of planet Earth.
Sergey DUNAEV
"Secrets of the 20th century" June 2012