B4F13I4

Transcribed Text (OCR)

GARY MANGIACOPA ARCHIVE
============================================================
Title:      B4F13I4
Slug:       b4f13i4
Categories: UFOs
Source:     https://garymangiacopraarchive.com/b4f13i4
Pages:      13 scanned, 13 extracted
OCR:        Google Vision API (document_text_detection)
Processed:  2026-06-06
============================================================

29 April 1993
7 Arlmont Street
Milford, Connecticut
06460
Freedom Of Information Act
Federal Bureau of Investigation
935 Pennsylvania Avenue, N.W.
[AD] Washington, D.C. 20535-0001
Dear Sirs: -
I am trying to establish through the Freedom of Information
Act if an F.B.I. investigation file is in existence concerning
the following individual:
Person: Albert M. Chop
Born: 4 January 1916 in Calumet, Michigan.
Education:
Early 1930s: Attended University Of Dayton, Ohio for 2
years.
Military Experience:
1944 - 1946: U.S. Marine Corps combat correspondent.
Work Experience:
1937 - 1943: Journalist for the Associated Press and the
Dayton Daily News in Dayton, Ohio.
1943 - 1944: Public relations for Acme Aluminum Alloys.
1946 - 1950: Advertising copywriter for Fuller and Smith And
Ross, Incorporated.
[AD] 1952 1953: Air Force Press Desk member at the Dept. of
Defense in Washington, D.C.
1953 - 1962: Public Relations Representative for Douglas
Aircraft Company.
1962 - 1975: Deputy Of Public Affairs at N.A.S.A.
1975 - 1976: Manager of the Atomic Energy Commission's
Employee Incentive Program.
1976: retire.
If said files are available, please advise me for the
procedures to acquire copies.
Sincerely,
Pary
Gary S. Mangiacopra

[PAGE BREAK]

OPCA-10 (12-3-96)
MR GARY S MANGIACOPRA
7 ARLMONT STREET
MILFORD, CT 06460
U.S. Department of Justice
Federal Bureau of Investigation
935 Pennsylvania Ave., N.W.
[AD] Washington, D.C. 20535-0001
MAY 29 1998
Subject of Request: Albert M. Chop
FOIPA No.: 435563
Dear Requester:
A copy of your letter asking for information maintained by the FBI under the Freedom of
Information Act (FOIA) concerning another individual(s) is being returned to you.
Before we commence processing your request for records pertaining to another individual(s), we ask
that you submit to the FBI either proof of death or a privacy waiver from that person. Proof of death can be
a copy of a death certificate, obituary or a recognized reference source. Death is presumed if the birth date
of the subject is more than 100 years ago. Without proof of death or a privacy waiver, the disclosure of law
enforcement records or information about another person is considered an unwarranted invasion of personal
privacy. Such records, if they exist, are exempt from disclosure pursuant to Exemptions (b)(6) and/or
(b)(7)(C) of the FOIA, Title 5, United States Code, Section 552.
Enclosed is a Privacy Waiver and Certification of Identity form. (You may make additional copies if
you are requesting information on more than one individual.) The subject of your request should complete
this form and then sign it, preferably in the presence of a notary. The original privacy waiver must be
provided to the FBI.
In order to ensure an accurate search of our records, please provide your subject's complete name,
date of birth and place of birth, if you have not already done so.
Once you have provided us with the necessary information, as described above, we will conduct a
search of our records and advise you of the results.
This response should not be considered an indication of whether or not records responsive to your
request exist in FBI files.
You may submit an appeal from any denial contained herein by writing to the Co-Director, Office of
[AD] Information and Privacy, U.S. Department of Justice, Flag Building, Suite 570, Washington, D.C. 20530-0001,
within 30 days from receipt of this letter. The envelope and the letter should be clearly marked "Freedom of
Information Appeal. Please cite the FOIA number assigned to your request so that it may easily be
identified.
Enclosure
Sincerely yours
J. Kevin
Chief
Freedom of Information-
Privacy Acts Section
O'Brien
Office of Public and Congressional Affairs
All Attached Correspondence Must Be Returned To The FBI With This Letter

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Privacy Waiver and Certification of Identity
Full Name:
Current Address:
Date of Birth:
Place of Birth:
Under penalty of perjury, I hereby declare that I am the person named above and I understand that any
falsification of this statement is punishable under the provisions of Title 18, United States Code (U.S.C.),
Section 1001 by a fine of not more that $10,000 or by imprisonment of not more than five years, or both;
and that requesting or obtaining any record(s) under false pretenses is punishable under the provisions of
Title 5, U.S.C., Section 552a (i)(3) as a misdemeanor and by a fine of not more than $5,000. I hereby
waive my right to privacy, and I authorize the FBI to release any and all information relating to me
to:
(Attorney or other Designee)
Your Signature:
[AD] Subscribed and sworn to before me, this
year of 19
Signature of Notary:
My Commission Expires:
Notary Seal or Stamp
day of

[PAGE BREAK]

Academy of Motion Picture Arts and Sciences
333 South La Cienega Boulevard
Beverly Hills, California 90211
DEL REF
PERLY
06460X2303 48
Gary S Mangiacopra
7 Arlmont St
Milford CT 06460
1 SEP
SEP
198
PB METER
032
7023668 U.S. POSTAGE

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MARGARET HERRICK LIBRARY
CENTER
=FOR=
MOTION
PICTURE
STUDY
ACADEMY
OF MOTION
PICTURE
ARTS AND
SCIENCES
ACADEMY
FOUNDATION
August 31, 1998
Gary S. Mangiacopra
7 Arlmont Street
Milford CT 06460
Dear Mr. Mangiacopra:
In January you sent us a box of materials on the film U.F.O. I am unclear as to what I
may do with these materials. It is not possible for us to hold these items for you. May
we incorporate the script and whatever clippings we choose into our collection? May
we toss the rest? Shall we send the all materials back to you?
I look forward to hearing from you at your earliest convenience.
Sincerely,
Pristiel Rouge
Kristine Krueger
National Film Information Service
140
333 S. La Cienega Blvd.
Beverly Hills, CA 90211
[AD] 310 247-3000 FAX 310 657-5193
[AD] REFERENCE 310 247-3020

[PAGE BREAK]

7 September 1998
Arlmont Street
Milford,
06460
Connecticut
Ms. Kristine Krueger
National Film Information Service
Margaret Herrick Library
Academy Of Motion Picture Arts And Sciences
333 South La Cienega Boulevard
Beverly Hills, California
90211
Dear Ms. Krueger:
I have received your letter of 31 August in regards to the
copies of background information on the 1956 documentary,
U.F.O.
that was sent by me last January.
If there was some confusion on my part in regards to these
copies, I must therefore apologize to you.
At that time, last January, my original purpose was to write
a lengthly article on the forgotten background production history
of this off-beat documentary that has been slowly gaining a cult
stature. The proposed article is presently being expanded into a
book-length project. I have also been approach by an independent
documentary company who is presently in the planning stages of
a series of programs for the DISCOVERY Channel. Their mini-series
would cover the early 1950s on this controversy and
interested in my book on this 1956 Film for a portion of one of
their segments. This is currently just in the preliminary
inquiries stage.
are
My purpose last January of sending you xerox duplicates of
my research for your files was to preserve unique and almost
impossible to acquire information that I was able to obtain
from several sources. This information in a few years would be
impossible for anyone else to ever acquire copies of on this 1956
documentary. If in the future there are other film researchers
who want to consult on this film production background, it would
be available to them. I also state that they are free to use
such information as they wish with my permission given as of this
date.
I am
aware, unfortunately, that presently we have a national
crisis with state and university libraries and historical
societies, due to budget cutbacks and lack of storage space to
save donations of items. Resulting in hard choices of what can be
saved.
Apparently, you are face with a similar dilemna. As you are
better inform of what type of items future researchers would be
able to use I will abide by your judgeement of the hard-
selection process of elimination. Whatever items you consider
unnecessary, simply return them to me (4th class, as there is no
rush)
I wish to thank you for your past help, and I may inquire
further with you in the future, as I am still receiving
additional information on persons who were involved with this
Forgotten documentary.
Sincerely,
Gary S. Mangiacopra

[PAGE BREAK]

26 MARCH 1998
7 ARLMONT STREET
MILFORD, CONNECTICUT
06460
Federal Bureau of Information
Freedom Of Information Act
- Privacy Act Section
935 Pennsylvania Avenue, N.W.
Washington, D.C.
20535
Dear Sirs: -
I have received your reply of 2 March in regards to my
inquiry of 20 February 1998 (both copies enclosed).
As requested, proof of the deaths of the two individuals,
Clarence Greene and Russell Rouse is provided with the enclosed
obituary or recognized reference source.
Information pertaining to Greene and Rouse was acquire from
the Margaret Herrick Library, Center For Motion Picture Study in
Beverly Hills, California. Their files on these two individuals
were very few, but confirmed their deaths that had occurred in
the last ten years.
As for Russell Rouse, obits in the Los Angeles Times,
Hollywood Reporter, and Variety clearly established his death.
As for Clarence Greene, the Margaret Herrick Library had
only one article that had refered that Clarence Greene, who was
only one article on his death, refering that he had been living
in the Palm Latitude hotel which was being demolish, and that
Greene had died in an nursing home some time before.
The enclosed information should confirm that both
individuals are dead.
Sincerely,
Jazy Bargrap
Mangiacop

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6 May 1998
7 Arlmont Street
Milford, Connecticut
06460
Mr. Thomas Tulien
c/o
2545 Pillsbury Avenue
South Minneapolis, Minnesota
55404
Dear Mr. Tulien: -
We had talk this Saturday in regards to your proposed series
of programs on the topic of the early period on the history of
ufology. Our specific topic was the importance of the first
serious documentary ever release on this subject in 1956,
Clarence Greene and Russell Rouse's UFO The True Story Of
Flying Saucers owned by MGM/United Artist.
As you have requested, I have copied the basic information
that you were interested in.
The first is the Oct, 1954 near final version of the movie
script. I should add that I had prior to acquiring this version
of the movie script, was to myself do a retroscript of the
documentary with every single word given in the film, and a time
sequence breakdown as to when something or a scene was said. The
script at the beginning and end is different from the final
version seen.
Also requested were a few sample contemporary movie reviews
of the film when first release and played across the country.
I also inclosed the only two articles that had ever been
done that tried (and only partly did) to give within the
limitations of an magazine article length a background on this
documentary history. I had tried to contact the author, Robert
Barrow, but have been unable to determine if he is still alive or
not (I personally think he is probably dead).
In our telephone discussion, you were greatly interested in
any sources of films pertaining to the early years of ufo
history. As we had briefly talk on this, unfortunately, many
early television shows or news programs were broadcast live,
seldom filmed in the early 16 mm kinescopes copies which were
usually one of a kind. Many failed to survived due to the films
being sold for scrapped at 3¢ a pound.
In regards to this documentary, I have established that on
17 July 1957, CBS show, I GOT A SECRET, had as one of their
guest, Nick Mariana. I have check the tv listings of the
N.Y. Times and determine that the date is correct. I also
establish that the N.Y. Museum of Radio and Television carried
some of these early shows, but do not loan out copies. They
gave me the telephone number to the company that
however,
presently holds rights to this show. I have not as yet been able
to determine if one can acquire a copy of this show or not.
I also have determine that I suspect, that perhaps Clarence
Greene may have been interviewed by Hartford's tv channel 3, that
was in existence when he had visited Hartford for promotion of
his film. Again, I have not establish if said film exists or one
could acquire a copy.
As for your need to acquire broadcasting rights to this film
itself, see letter of 1 July from MGM/United Artists Corp. I had
never received a reply from their lawyers division.
I have been warned by film researchers who were writing on
their specific film interest, that today's film companies tend
to ignore or brush off research inquiries. As you can see, I had
a similar reply. But this may offer leads if you wish to pursuit
it. The Library of Congress does have a copy of this film in
their possession. See letter,
22 May.
I have enclosed in a second package, a video tape copy of a
lost 1952 tv film (12 minutes length only) that was produce
during the then 1952 Ufo wave. What is interesting is the
interviews of several ufo writers from that peroid that I have
not seen elsewhere. This tv newsreel was from SINISTER CINEMA
that had acquire the 35 mm copy of it, and holds the rights I

[PAGE BREAK]

[2]
believe to the tv film. They should be contacted.
I also video copy the segment from SIGHTINGS that had the
interview with Albert Chop when he was asked about the infamous
1952 Washington, D.C. ufo flap he was involved in.
I believe this should give a very general coverage that you
are interested in regards to the 1956 documentary. If there is
any additional information that you may need, please inform me
and I will forwart the copies.
Sincerely,
Gary S. Mangiacopra

[PAGE BREAK]

7 April 1998
Arlmont Street
Milford, Connecticut
06460
Mr. Thomas Tulien
AFS/Dialogue Productions
2545 Pillsbury Avenue
South Minneapolis, Minnesota
55404
Dear Mr. Tulien:
once
COPY
I have received your letter of the 2nd today, and am
immediately replying at
to your inquiry regarding the "cult"
documentary, UFO The True Story Of Flying Saucers (1956/United Artist
Corporation).
Currently, I am working on a book on the background production
history of this ground breaking film documentary and the two film
producers who had gone against the Hollywood system of getting the film
done. It is a very complicate, Fascinating, Fustrating and very sad
story of producers Clarence Greene and Russell Rouse. Two very talented
writers and directors who won the Academy Award for best
writers/directors and winners of the Academy Award of the 1959
screenplay for the Rock Hudson-Doris Day movie Pillow Talk
dying in obscurity and totally forgotten in Hollywood. If you check any
books dealing with Film history, at best you might find a few lines
refering to them at best!
very talented
only both
My investigation into the film's production history reveal
several interesting facts that pertain to the ufo phenomenon history
from 1947 up to 1952. What few people realize was one of the film's
producers, Clarence Greene was, himself, a ufo sighter during the 1952
year ufo wave. This prompted him to become involved in this controversy
to the extent of producing the film documentary. But importantly, he
Rouse, were also producing a series of low-budget and
and his partner,
[AD] unusual and offbeat films from 1949-1957. These films are only now
starting to be recognized as films that were ahead of their time. But I
have since realized that in my opinion, there were no other persons or
film companies in the early 1950s that were willing to even make a
documentary like this. If you have ever seen some of the major studios
weekly newsreels, they tend to downplay and ridicule this
subject. Importantly, the major studios were in a very cozy situation
with the military in regards to men and equipment and technical advice
when they were making their major war Films. They were not going to
produce this type of film that would irk the military. In short, they
were not going to rock the boat for their financial profits.
Which is the more remarkable that this documentary was made and
of a very high quaility of seriousness.
The film significance, considering that it was a box office
flop when originally release at the movie theatres, was like many
Films, it was in the early 1960s, shown on tv and usually played on the
late, late show, where many people saw the film and became interested
in this controversy. For nearly 20 years, this documentary held as the
only full-length film on the subject that one could watch. However, in
the last 20 years, other documentaries have been shown but none ever
coming to the seriousness and quality as UFO.
I am
aware of the film's shortcomings, and by no means is it a
Citizen Kane, but I do considered it in the same class as John Ford's
The Searchers (1956) (a western by which all other westerns are judge
against), the same with UFO by which all other ufo documentaries
should be judge against.
Regarding your interest of copyright and licensing rights to
the film, I have in my research do know the people who you would need
to contact and various aspects of other information that would be of
interest.
In fact, it would be of mutual help to each other as I have
located other information pertaining to UFO that I have reached a road
block of getting to.
Currently, this documentary is owned by MGM/United Artists who
retain all rights. I was in contact with a person connected with this
company when I had tried to inquire if they may still possess any
records or files of information. It seems they do (what the files are,
it is unclear) but I was given back a curt reply that such files was
only for inhouse use, and not available to anyone else! That my letter
of inquiry was being forwarded to their lawyers regarding their
copyrights.

[PAGE BREAK]

[2]
I heard nothing further from them. I was inform by several Film
researchers who I had ask about the problem of getting information from
film companies, all replied more or less to this effect. That today's film
companies are not what they were even 20 years ago, when a person was
researching on the background of a film, they were somewhat helpful,
suppling information, or charge a nominal fee. Today's companies are more
"bottom liners" and have no interest at all with their past films, which
is hampering I have found other film researchers at the present time.
Oddly, inquiries to companies that specialized in movie posters,
copies of Film scripts, etc., have nothing listed for this
Film! Considering that they carried movie items of even more obscure
Films.
I was, however, fortunate enough to contact several ufo
researchers who possess bits and pieces pertaining to the film that help
to piece together this films Fragmented history. Some of whom are in their
70s and 80s whose scrape books contained information that would have been
impossible to obtain anywhere. Another had a collection of the UFO lobby
and movie posters who loaned them to me to make copies of. Of which
regarding reprint rights are right now in a "gray" area and of which I
would like definitive permission to use from MGM/United Artist.
Another had a near final version of the shooting script which was
some what different from the film version. In fact, when I first could not
acquire a copy of the film script, I transcribe the film dialogue adding
the time sequence of when it was played within the film.
Attempts were further made to contact anyone still living (!) who
was personally involved with the film. To this it was both success and
failure.
Both Greene and Rouse had died within the last decade, and I have
not been able to establish if their company production memos are still in
existence or deposited at some university. The whereabouts of the ufo
documents that was listed at the beginning of the film and deposited in
the custody of TITLE INSURANCE AND TRUST COMPANY, OF L'os Angeles in 1956,
is at present lost and more probable do not exist any more.
What they may
or may not have contain is unknown, though I suspect some of it was
contemporary published newspaper and magazine articles.
11
There is one lead that I have not been able to contact. Though a
source that wishes to remain anonymous, did give me the telephone number
of Rouse's son, who still lives in California. I have as yet been unable
to personally contact him (reason given further). He informed me warning
would be a better word
that Rouse's
was very protective of his
son
father and feels that Hollywood had ignore his father's achivements. I
feel that he may not at all be receptive towards anyone doing research on
one of his father's films, especially of all ones, the most controversial
of all, this ufo documentary. He may feel that he does not want his father
to be remember for this!
But, he may possess information that may contain more information
on his father and partner Greene, even if it is nothing more than some
photographs of them together.
I have been holding back contacting him as currently I am awaiting
the F.B.I. Files that I had only recently been able to confirm does exist
I do not know if these files contain any reference to
on Greene and Rouse.
of making the ufo documentary, or is nothing more than an typical 1950s &
60s Hollywood subversive investigative report. Until I see the files, then
I would try and establish contact with the son. I am in a "walking on eggs
situation" with this avenue of research.
was in contacting Al Chop and Dewery Fournet
My best success
portraited in the documentary. Both were able to give their recollections
of their involvement with the film, but Chop was the one who provided much
invaluable information on the film's background. Chop was also two years
ago, filmed for a segment in the SIGHTINGS program on the classic 1952 ufo
flap over Washington, D.C. (I have a copy of this segment on video tape).
Fournet does not like the film, and had never met the film
producers.
Both men were alive more than a year ago when I had contacted
them, hopefully, they are still among us at present.
There is another interesting aspect of this documentary that I
soon realized that I did not realize before. Considering it's significant
importance in ufo history, one would have assume that someone prior had
published the definitive history of this film. An assumption that I
thought had happened...only to quickly learn that no one - aside from
one expection had ever done any investigation into the film.
COPY

[PAGE BREAK]

[3]
In 1977, ufo writer, Robert Barrow, wrote two 20th anniversary
articles on the then history of UFO. Barrow's had done, considering
he had to work under a magazine article words length limitations, did an
excellent job on the film's background. I soon learn that this Was
literally the only articles anyone had done before and since of any
still alive and accessable.
investigation with the main principals were
I had tried, even having a contact place a notice on the internet, if
anyone knows the whereabouts of Barrows to contact me...with no replies.
I fear that Barrows may be dead, as he had mention that he was interested
in the film since the early 1960s, meaning that he would have to be in his
Whatever unique information he had in his Files
60s at least, if not more.
are now forever lost.
11
I am in my case, literary running against the clock of trying to
piece together this Films history. In a few years, no one would have been
able to accomplish as much as I have due to the passage of time with many
of these "old timers" no longer being with us. Their files are impossible
to duplicate as no one has the time and money to do this type of depth
research anymore in todays economic situation.
I do not know if you realize and only I have recently realized
the rapidly impossible situation of trying to locate
this myself
published newspaper and magazine articles pertaining, in our case as an
And I am taking the position that you have a
example, the ufo phenomena.
precise reference that you can track down. Taking my state as an example,
and pluging into the inter-library listings and my state universities
magazine listings, one quickly discover that many magazines that you are
interested in that had articles published that you know of ...no one
carries these back issues either bound or on microfilm! I am refering to
such magazines as POPULAR SCIENCE or POPULAR MECHANICS, which had some
interesting and general articles on ufos and interesting letters to the
editors from readers on this subject. Libraries do not possess these
issues from the 1940s and 50s period, meaning you have only on known
that of the Library Of Congress and even they may not possess
source,
once existed. And at a cost factor of $10 an item
the items you know had
copy an article, this turns off all but
the Library of Congress charge to
an example, do you know that the early 1950s
the serious investigator. As
LIFE, the scouting magazine, had ufo related articles? And
magazine, BOYS'
though they had at this time a 1.5 MILLION paid subscriptions, it is
even among collectors as no
impossible to locate any back issues,
with such men's adventure magazine
ever thought to save them. The same
such as TRUE, ARGOSY, and others from that period until their 1970s
demise. Containing Fascinating contemporary accounts and no one had ever
bothers to save them...and this is typical. Do you know that when
finally folded, a lot of their files was simply tossed in the
N.I.C.A.P.
was saved, but a lot unique data was lost. The same with
dumpster...some
many of the small ufo newsletters of the 1950s, copies are impossible to
acquire.
one had
Thus you are dependent upon someone else who may have saved
are losing these type of researchers.
these items decades prior, and we
I hope that this information may be of help to you in your
If I can be of
research into the early history of the ufo phenomena.
further help to you in regards to this 1956 documentary, or a Few contacts
that I do know of, I would be willing to write letters of introduction.
master's degree in biology from
A brief bio of myself: I hold a
Southern Connecticut State University, did my thesis on the topic:
THEORETICAL POPULATION OF LARGE UNKNOWN AQUATIC ANIMAL'S IN 12 SELECTED
NORTH AMERICAN L'AKES (I examined the fish biomass in a lake of which
are claimed to exist to determine if such lakes
reputed "lake monsters"
could support unknown aquatic animals). Presently, working on two books
pertaining to the controversy of sea serpents and lake monsters. Had
cryptozoological articles published in the British FORTEAN STUDIES in the
on a tv talk show in Detroit with Roy
1988
last two years, and was in
Mackal.
I await your reply.
Sincerely,
Gary S. Mangiacopra
copy

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Gary Mangiacopa
7 Arlmont Street
Milford, CT 06460
April 2, 1998
Dear Mr Mangiacopa:
Iam a documentary filmaker, presently developing a series which will examine the
early history of the UFO phenomenon.
Jan Aldrich was kind enough to provide your address and he informs me that you
are the authority on the 1956 film U.F.O. produced by Rouse/Green.
I would like to communicate with you regarding this matter. Initially, I would like
to establish copyright and licensing rights for the film.
I look forward to hearing from you at your convenience.
Kind regards.
Thomas Tulien
AFS/Dialogue Productions
2545 Pillsbury Ave. S. Minneapolis, MN 55404
[AD] ph. 612-872-9478 fax 612-872-9478
afsdialog@aol.com