A London-based film producer, Ray Santilli, claims that whilst researching material for a music documentary in 1993, he came across some previously unseen footage of Elvis Presley. He arranged a cash deal with the cameraman for the footage and when this was completed he was offered some footage taken during the cameraman's time in the forces - this footage was alleged to show a UFO crash site and an alien autopsy. After viewing the film
Santilli decided to purchase it and concluded the deal in November 1994.
When he returned to the U.K. Santilli took the film to The British UFO Research
Association where Philip Mantle was of the opinion that "The footage is unique. It is the only known instance
of aliens on film". In a press release dated 26 March 1995 .Mantle claimed that "we have had the film
checked out by Kodak who confirm it is 50 years old - we now plan to have it examined by film experts in
The UFO community, however, on investigating the providence of the footage
became doubtful about whether the filmed autopsy was genuine or a
fake. There were misgivings regarding the fact that established Roswell investigators were denied access to the film and also the facts
behind the story were kept
secret. It was revealed that Peter Milson , a senior manager with Kodak in
England, had been surprised at Mantle's press statement claiming that the film had been verified and apparently other Kodak offices were unaware of testing the film.
However, on 5th July 1995 a salesperson at Kodak's Copenhagen office confirmed that the "film edge markings" meant that the film had been manufactured in 1947 - but what he did not
realize was the same markings could be applied to film manufactured in 1927,1947 or 1967.Also, the date of manufacture of the film does not guarantee the date when the film was shot or processed.
Kodak offered to confirm the authenticity of the film and to do so they required two frames of the autopsy sequence to meet the test criteria.
When the film received it's television premiere in August 1995,Kodak had received no footage. In the meantime Santilli insisted that Kodak had confirmed the age of the footage.
It was reported that two three-framed segments were submitted to Bob Shell ,editor of the magazine "Shutterbug", and previously a photographic consultant for the FBI and the U.S. legal system.
Shell, after careful analysis of the film's chemical make-up, confirmed the frames to be pre-1956 and concluded that type of film used was Super XX-Pan-chromatic Safety
film, an in-door, high-speed film with a short life span of no more than two
years. He was adamant that the film would have been exposed and developed within this time period - making the film at least pre-1958.However , the film frames tested did not show the actual alien.
Ray Santilli did not disclose the name of the cameraman but referred to him as "Jack Barnett". In 1995 the cameraman produced a statement of the circumstances surrounding his orders in 1947 to film the alien crash site and the autopsy that
followed. Apparently he received a call ordering him to attend a crash site of a Russian
"Barnett's" convoluted account included a flight to Wright Patterson Air Field in Ohio to collect equipment ,a flight to New Mexico and then a road journey across hazardous desert terrain in order to reach the crash
site. However, many years later he was able to identify the exact spot where the original debris had been found.
This is of great importance because it was almost automatically assumed by many that the
autopsy film related to the well known crash site near Roswell, New Mexico
in July 1947. However, a similar event was reported to have occurred several weeks earlier near
Socorro, New Mexico - if genuine the autopsy film probably relates to this incident - 31 May 1947 and it should be pointed out that some well respected UFO researchers have thoroughly investigated this matter and have concluded it to be the truth.
Various retired combat cameramen have been consulted and not only
maintain that "Barnett's" account was not typical of military procedure
but that all medical procedures were filmed in colour (the autopsy film
being in monochrome) .Their standards were much higher than those shown
on the autopsy film which was shaky, out of focus and hand held
Retired Colonel Daniel Mcgovern regarded the autopsy film as appalling and not even close to military
standards. Colonel Mcgovern has offered to verify the cameraman's service
record if given his name ,rank etc... and promised confidentiality.
However, Ray Santilli's response was " in the current climate the cameraman will be doing himself and his family a disservice by going public....however good his credentials he will be torn limb from limb".
Various other qualified people have given conflicting opinions. Some special FX experts regard the film as a fake - others
disagree. Pathologist Dr. Ed Uthman stated "The cuts in the skin were made a little too
Hollywood-like, autopsy cuts are deeper and faster". Other pathologists were of differing opinions.
Also several witnesses have come forward who regard the autopsy film as
authentic. Sgt. Clifford Stone (US Army-retired) relates how in 1969 (at Fort
Belvoir) he witnessed an auditorium filled
personnel watching UFO films -including an autopsy film. He identified this film as the same as the Santilli film when he saw it in 1995.Frank Sallas , the technician who transferred the film to video at
Santilli's rrequest, confirmed that in his opinion it was not a hoax. Mike Maloney,
a well respected and qualified press
photographer, relates how he viewed a 16mm film in the 1970s in California. He is convinced that the film he saw was identical to the Santilli autopsy film.
In the meantime Santilli has stuck to his story and maintains there is more film kept in a safe place on the Continent - showing the debris field and validating the time period of the autopsy footage that has been released.
Colonel (retired) Dan McGovern challenged
Santilli , offering to check the service record of the