1995 11 00 Science et Vie No 938

Magazine Overview

Title: SCIENCE & VIE
Issue: 938
Date: November 1995
Publisher: Science & Vie
Country: France
Language: French

Main Cover Story: "LE CHAOS NOUS FAIT NAITRE"

The cover of this issue of Science & Vie features a striking headline: "LE CHAOS NOUS FAIT NAITRE" (Chaos Gives Birth to Us). Accompanying this is an evocative image of a baby-like silhouette against a dramatic, glowing background. The cover also highlights a feature on "EXTRATERRESTRE" with a film strip graphic, focusing on "L'imposture du film de Roswell" (The Roswell Film Hoax), and a mention of new 3D game consoles.

Feature Article: "ROSWELL: Autopsie d'une imposture" (Roswell: Autopsy of a Hoax)

This in-depth investigation, penned by Pierre Lagrange, meticulously dissects the controversial film purported to show the autopsy of an extraterrestrial from the alleged 1947 Roswell crash. The article begins by noting the commercial availability of a video cassette presenting this autopsy, which the magazine asserts is a fabrication.

The Film's Claims and Inconsistencies

The film, allegedly shot by an American army cameraman in 1947, depicts an "extraterrestrial" with hydrocephalus, six fingers, and no navel. The story, as presented by distributor Ray Santilli, claims that the cameraman, Jack Barnett, kept twenty-two out of two hundred reels of footage, which Santilli later acquired and sold to various television stations, including TF1.

However, Lagrange systematically dismantles the film's credibility. He points out the poor quality of the footage, with constant "jumps" and out-of-focus shots, especially when filming the body, while the debris appears sharp. This contrasts sharply with other military films from the same era, which were often clearer and in color. The article questions the plausibility of such crucial footage being entrusted to a single, seemingly unprofessional cameraman.

Chronological and Geographical Discrepancies

Santilli's explanations for the film's hurried production are deemed "unacceptable" because they fail to align with established facts. Barnett's account places the crash on June 1, 1947, a month before the widely accepted date, and over 150 km south-east of Socorro, not Roswell. Furthermore, military records indicate that the debris found near Roswell in early July 1947 was from a balloon launch on June 4.

The "Six Fingers" Anomaly

While the film shows an alien with six fingers on its hands and feet, contemporary testimonies from the Roswell incident (though considered questionable) generally spoke of four fingers. This discrepancy further undermines the film's authenticity.

The "Fresh Blood" Paradox

A significant point raised is the presence of flowing blood during the autopsy. The article notes that if the body had been preserved for several weeks in ice, as suggested, the blood should not have been liquid.

Questionable Military Involvement and Documents

The article scrutinizes claims of military involvement, such as the alleged codename "Operation Anvil." Investigations by UFO historian William LaParl reveal that "Operation Anvil" was planned for a landing in Southern France during WWII, not related to Roswell. Barnett's claim that General George C. Kenney, commander of SAC, was present is also refuted; Kenney was in Southbend, Indiana, on the alleged date.

Santilli also produced "top secret" documents supposedly from a group called "MJ 12," detailing a government cover-up of alien crashes since 1947. However, these documents, revealed in 1987, are widely recognized as forgeries. Ufologist Barry Greenwood and skeptic Philip Klass have pointed out that Truman's signature on one of these documents was copied from a letter to Vannevar Bush.

The Cold War Context and Paranoia

The article places the Roswell incident within the context of the Cold War, a period of heightened suspicion and paranoia. Military investigations into UFOs were conducted seriously, with the Air Material Command and the Directorate of Intelligence analyzing sightings. By late July 1947, military experts concluded that the "flying discs" were real physical objects, but debated their origin, considering possibilities like the USSR or Mars, or even secret American programs.

Declassified Documents and Lack of Evidence

Declassified documents from the "Blue Book" project (the military's UFO investigation program) reveal that while the military took UFO reports seriously, they did not find evidence of extraterrestrial origins or confirm the Roswell incident as depicted in Santilli's film. The absence of any mention of the Roswell crash in these extensive, declassified archives is a significant point against its authenticity.

The "Disques" from Mars or the USSR?

In 1948, the possibility of extraterrestrial origins for UFOs gained traction, particularly after a sighting by a commercial airliner. However, internal military reports remained divided, with some suggesting Soviet technology and others interplanetary craft. The article notes that the military's public stance often downplayed the extraterrestrial hypothesis to avoid public panic.

Jacques Pradel's Stance

Even Jacques Pradel, who hosted the program featuring the film, expresses caution on the cassette's back cover, stating that the film's 1947 origin cannot be guaranteed and the non-human nature of the creature could not be verified. Despite this, he seems to lean towards a conspiracy theory, suggesting a hidden store of alien evidence is being concealed.

Recurring Themes and Editorial Stance

The magazine's stance is clear: the Roswell autopsy film is a fabrication. The article systematically debunks the film and the accompanying narrative through logical analysis, historical fact-checking, and reference to declassified military documents. It highlights the dangers of sensationalism and the importance of critical examination of evidence, especially in the context of UFO phenomena. The underlying theme is that while the military took UFO reports seriously during the Cold War, the Roswell autopsy film is a modern-day hoax, likely created for profit or sensationalism, playing on public fascination with the unknown and the era's paranoia. The magazine emphasizes that the pursuit of truth requires rigorous investigation, not blind acceptance of dubious claims.

Other Content

"Manque d'imagination" (Lack of Imagination)

A brief note points out that some debris shown in the film has the word "video" written on it, humorously suggesting that Latin is a universal language, or more likely, another clue to the film's artificiality.

"Sang frais" (Fresh Blood)

This section reiterates the paradox of liquid blood in an allegedly preserved alien body.

"Les 'Disques' Viennent-ils de Mars ou de l'URSS?" (Do the 'Discs' Come from Mars or the USSR?)

This section delves into the military's early investigations into UFOs, exploring the debate between Soviet origins and extraterrestrial origins, and the eventual conclusion that UFOs were real physical objects, though their origin remained debated.

"Flou parfait" (Perfect Blur)

This short piece criticizes the film's focus on blurry close-ups, questioning its utility for medical detail and highlighting the poor quality of the footage.

"L'INVRAISEMBLABLE COMPLOT" (The Unbelievable Conspiracy)

This section discusses the idea of a massive, long-standing conspiracy to hide the truth about UFOs, contrasting it with the limited nature of declassified administrative documents, which do not reveal any grand governmental secrets about aliens.

"GUERRE FROIDE ET PARANOÏA" (Cold War and Paranoia)

This section frames the UFO phenomenon within the geopolitical tensions of the Cold War, suggesting that military interest was partly driven by fears of Soviet technological advancements.

"Militaires crédules" (Credulous Military)

This part discusses how military experts, in the context of the time, did consider the possibility of extraterrestrial craft, even if they also explored other explanations like Soviet technology. It touches upon the idea that the film might have been created to exploit this historical military interest.

"Faux et usage de faux" (Forgeries and Misuse of Forgeries)

This section reiterates that documents like the MJ 12 papers, presented by Santilli, are known forgeries, undermining his credibility.

"Faute de certitudes..." (Lack of Certainties...)

This section notes that without definitive proof, Pradel resorts to conspiracy theories to explain the lack of transparency surrounding UFOs.

"Finalement, si Pradel privilégie l'hypothèse du complot..."

This concluding thought suggests that Pradel's focus on conspiracy might stem from a desire not to be deceived by a simple hoax.