B4F53I1

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GARY MANGIACOPA ARCHIVE
============================================================
Title:      B4F53I1
Slug:       b4f53i1
Categories: UFOs
Source:     https://garymangiacopraarchive.com/b4f53i1
Pages:      76 scanned, 76 extracted
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Processed:  2026-06-06
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WORLD'S 1ST DOCUMENTARY
L
"Flying Saucers" believes "Unidentified Flying Objects" to be
of such importance that it brings you two distinct reviews of the
film by Max B. Miller, head of Flying Saucers International of
Los Angeles, California, and Ted Bloacher, Director of Research
at the Civilian Saucer Investigation of New York; both Prominent
and serious-minded investigators.
ISTED in Daily Variety as the
"biggest 'scoop' in the history
of the film business
" and
regarded as "Hollywood's best-kept
secret," "Unidentified Flying Ob-
'jects" is the world's first feature-
length documentary motion picture
on the flying saucer phenomena.
Not one hint of the epochal film
appeared in the gossip columns, not
one line in the trade papers, not
one word leaked in any of the u.f.o.
journals of the world; not, that is,
until it was previewed to the Press
on April 23, 1956.
I had the fortunate opportunity to
see the motion picture twice. First,
at Projection Room "A" at the Gold-
wyn studios, and then just one week
later at the film's first public ma-
tinee showing at the Fox Wilshire
Theater.
"UFO" as it is unofficially des-
ignated is a Greene Rouse pro-
duction, nationally released in the
United States in May-June through
United Artists Corporation. It was
produced by Clarence Greene, di-
rected by Winston Jones (his first
time at it), written by Francis Mar-
tin and photographed by Howard
A. Anderson, Ed Fitzgerald and Bert
Spielvogel.
My reactions were decidedly mix-
ed after viewing this film for the
first time. Briefly, "U.F.O." is a 91-
58
minute almost completely black
and white documentary on the
u.f.o., from 1947 to 1952, featuring
two "actual" movies of u.f.o.s in
flight, these being reproduced in
full color.
in
What probably amounts to the
three top ex-Air Force authorities
on the u.f.o. were all acquired as
technical directors for the three
years
the making "U.F.O."
namely, Albert M. Chop, former
chief, press section, Air Materiel
Command; Major Dewey Fournet,
Jr., U.S.A.F. intelligence officer and
liaison between the Pentagon and
Project Blue Book; and Edward J.
Ruppelt (author, The Report On
Unidentified Flying Objects), for-
mer director, Project Blue Book (Air
Technical Intelligence Center, Day-
ton, Ohio). And a rather impressive
lot they were!
The film opens where most sauc-
er books do: the Kenneth Arnold
sighting of June 24, 1947, and ends
with the dramatic details of the so-
called "Washington Crisis" of July,
1952.
The Arnold, Mantell, Gorman and
a number of the other better
known incidents are thoroughly re-
enacted. Outside of the Washing-
ton, D.C., affair, the Mantell story,
leading up to the time of his crash,
is the most spellbinding. Obvious
MOV
LIFE
theatrics
there.
Now to
The two
actual u.f.
very famo
(Tremonto
Mariana
Probably
shots as t
last two of
and Edwa
The Unid
Flying
Sauces
June 1957

[PAGE BREAK]

MENTARY
ng Objects" to be
inct reviews of the
rs International of
rector of Research
rk; both Prominent
MOVIE ON FLYING SAUCE
Reviewed By
Max B. Miller and Ted Bloacher
ost completely black
documentary on the
1947 to 1952, featuring
movies of u.f.o.s in
being reproduced in
bably amounts to the
-Air Force authorities
were all acquired as
ectors for the three
the making "U.F.O."
lbert M. Chop, former
section, Air Materiel
Major Dewey Fournet,
ntelligence officer and
en the Pentagon and
Book; and Edward J.
thor, The Report On
Flying Objects), for-
Project Blue Book (Air
elligence Center, Day-
hd a rather impressive
ens where most sauc-
the Kenneth Arnold
ne 24, 1947, and ends
atic details of the so-
ngton Crisis" of July,
Mantell, Gorman and
the other better
ts are thoroughly re-
ide of the Washing-
ir, the Mantell story,
the time of his crash,
ell binding. Obvious
LIFE
THERE IS A CASE
FOR INTERPLANETARY
SAUCERS
A
scene
from the movie
"Unide
Objects", showing the degree of "E
theatrics were employed here and
there.
Now to the piece de resistance.
The two aforementioned clips of
actual u.f.o.s in flight are the now
very famous Delbert C. Newhouse
(Tremonton, Utah) and Nicholas
Mariana (Montana) color films.
Probably most of us recall these
shots as they were related in the
last two of Major Donald E. Keyhoe's
and Edward J. Ruppelt's Report On
The Unidentified Flying Objects.
59
Yet they proved to be sor
appointing. Obviously, t
the answer. But they a
cog which make the u.f.a
Both groups (two u.f.o.s i
ana sequence and over
the Newhouse film)
graphed on 16-mm.
frames - per second, a
75 - mm. (3X) telephot
"Flying Saucers" believe-
fied Flying Objects to be
portance that it brings -
f

[PAGE BREAK]

60
FLYING SAUCERS
tinct reviews of the film by Max B.
Miller, head of Flying Saucers In-
ternational of Los Angeles, Califor-
nia, and Ted Bloacher, Director of
Research at the Civilian Saucer In-
vestigation of New York; both pro-
minent and serious - minded investi-
gators.
is
"Unidentified Flying Objects" most
certainly does not follow official
lines and policy; nor does it portray
an unbiased (from the skeptics'
viewpoint) history of the u.f.o. It
for a pleasant change
de-
cidedly pro-saucer. The customary
preface to such films -i.e., "We
gratefully acknowledge the co-oper-
ation of the United States Air
Force..." was conspicuously ab-
sent.
Reaction to date has been essenti-
ally good. In fact, "U.F.O." received
'surprisingly lengthy and thorough
reviews and news dispatches via the
various news media, including the
major wire services.
On the whole, Press reaction was
about as varied as it was interest-
ing. For example.
United Press: "The movie scoop of
the year..."; Los Angeles Examiner:
first rate journalistic beat.
careful documentary. extremely
engrossing. . ."; Los Angeles Times:
. the incidents depicted and the
words quoted .. . just don't make
for very interesting drama, even
documentary drama"; Louella Par-
sons: ("U.F.O.") is attracting
front page and editorial attention
although what the saucers are is
still a mystery. . ."
In a review titled "Film Proves
Saucers Exist!" Beverley Hills Press
reviewer Hazel Flynn pointedly asks:
"And as long as we are on the sub-
ject WHY HAVE WE HAD VISIT-
ORS FROM SPACE SINCE MR.
EISENHOWER TOOK THE PRESI-
DENTIAL CHAIR? Could it be that
the residents of other planets like
the men now engaged in smashing
the Stalin worshipping cult in Rus-
sia are more friendly to Ike and
the Republicans than their pre-
decessors?"
an-
Ur-
And Mirror-News columnist Paul
Coates added a touch of intrigue
when he quoted the conclusion of
the Press showing telegram
nouncement he received: ".
gently request contents of this wire
be kept confidential until showing
and conference at Academy Award
Theater."
"Feeling like a refugee from a
cloak and dagger plot," added
Coates, "I presented my credentials
at the theater. . . . The man at the
door handed me a large envelope
and ushered me to a seat."
He concluded: "I doubt that very
many people who see the film will
fail to be convinced that we have
been receiving periodic visitations
from outer space.'
"Unidentified Flying Objects" was
premiered to the public on May 9
at the Fox Wilshire Theatre, Los
Angeles. When I saw this film the
second time at that showing the ob-
jective was not to see the picture
again, but rather to check atten-
dance and audience reaction. This
was probably for the best, too. For
while I was thoroughly enthusiastic
after viewing "U.F.O." the first time,
I found the second time round quite
a let down. However, the Utah and
Montana clips were well worth
examining again.
The approximate attendance at
the first matinee showing was 400
and at $1.00 per head! An enthu-
siastic doorman told me, in effect,
that that was a "fantastic" number
for such an early hour (1:45 p.m..).
The Fox Wilshire Theater, it was
later reported, set
attendance recor
grossing about $2
later learned tha
attendance figure
little above "avera
But even "aver
Wilshire is fantast
beat film. The "F
top first run, ex
ment theatres
"U.FO." followed
of the multi-milli
ander The Great,"
equally expensive t
peze." Not bad in
the underdog u.f.oj
Audience reacti
preview was good
and there with apl
thused were the
probably because tl

[PAGE BREAK]

WORLD'S FIRST DOCUMENTARY
61
R? Could it be that
f other planets like
ngaged in smashing
shipping cult in Rus-
friendly to Ike and
S than their pre-
ews columnist Paul
touch of intrigue
the conclusion of
wing telegram an-
received:
Ur-
ontents of this wire
ntial until showing
at Academy Award
a refugee from a
dagger plot," added
hted my credentials
The man at the
e a large envelope
to a seat."
"I doubt that very
o see the film will
nced that we have
periodic visitations
Flying Objects" was
public on May 9
shire Theatre, Los
saw this film the
at showing the ob-
to see the picture
to check atten-
hce reaction. This
the best, too. For
ughly enthusiastic
.O." the first time,
time round quite
ver, the Utah and
vere well worth
te attendance at
showing was 400
head! An enthu-
old me, in effect,
antastic" number
hour (1:45 p.m..).
Theater, it was
Tenso drama in Radar Control Center in Washing-
ton, D. C., as flying saucers disport over capital.
later reported, set an opening day
attendance record for the house,
grossing about $2,500 on May 9. I
later learned that the first week's
attendance figure was about or a
little above "average."
But even "average" for the Fox
Wilshire is fantastic for such an off-
beat film. The "Fox" is one of the
top first run, exclusive
engage-
ment theatres in the country.
"U.F.O." followed the world premier
of the multi-million dollar, "Alex-
ander The Great," and preceded the
equally expensive and touted "Tra-
peze." Not bad in any language for
the underdog u.f.o.
Audience reaction at the Press
preview was good, sprinkled here
and there with applause. Not so en-
thused were the crowd at "Fox,"
probably because they - and under-
standably expected something
better. "U.F.O.' was greatly played-
up in Press notices and advertising,
and likewise on local television.
Quarter page Los Angeles news-
paper ads, for example, screamed-
"It appears to be a metallic ob-
ject of tremendous size
I'm
trying to close in on it!' (Mantell,
obviously Au.) AND THEN HE
CRASHED! THE TRUTH ABOUT
FLYING SAUCERS! YOU WILL
SEE THEM WITH YOUR OWN
EYES: Actual color films of the Uni-
dentified Flying Objects that have
been kept 'top secret' until now!.
EVERY SHOCKING WORD, EVERY
FANTASTIC SCENE, EVERY
FRIGHTENING MOMENT IS
TRUE!..."
To sum up I can do nothing but
at least recommend "Unidentified

[PAGE BREAK]

62
FLYING SAUCERS
Flying Objects" to all so-called
"saucer - fans" but if for no oth-
er reason than to see the famed,
and hitherto purportedly "secret,"
U. F. O. films. The movie isn't, on
the whole, particularly interesting.
The pace is slow, the action stiff. It
is largely what is so disparagingly
referred to as "re hash." But it
might be a good idea to remind our-
selves again of the composite his-
tory of the u.f.o. and to be led back
to the objective path. To those who
are dogmatically skeptical of the
u.f.o.. this film will prove of little
value. But for the open mindeds
and undecideds, it should be a tre-
mendous wedging block for greater
interest ...
and truthful searching.
Max B. Miller
O
N May 9, together with about
thirty members of Civilian
Saucer Intelligence of New
York, I attended a special preview
of a film that could very well change
the public relations aspect of the
u.f.o. overnight. Messrs. Greene and
Rouse have handled their contro-
versial subject matter in an alto-
gether factual and down to
earth manner. They have been care-
ful to use only material that can
be fully substantiated by official
documents from the Air Force files.
A somewhat slim storyline, inter-
woven through the film, re-enacts
the activities of Al Chop during his
tenure of office with the Air Force
as Civilian Information Specialist.
During this time, Chop's skepticism
gradually changed to interest, and
eventually to his final conviction
that "the saucers are interplane-
tary."
The producers have wisely refrain-
ed from trying to duplicate the vis-
aul appearance of u.f.o.s in any of
the cases they refer to; the reactions
of some of the witnesses are recon-
structed in several cases. By avoid-
ing facsimiles of the objects in
question, they have made two here-
tofore secret Newhouse and Mari-
ana films showing actual u.f.o.s in
flight considerably more forceful
and conspicuous.
Beside these two cases, the film
mentions the Kenneth Arnold re-
port of June 24, 1947, and describes
the furore that followed. The scene
in the Godman Field tower during
the Mantell chase is reconstructed
with great care; numerous details,
not known before, are related, in-
cluding the names of two of Man-
tell's wing men, Hammond and Hen-
dricks. The latter, along with a third
pilot, landed and took off again,
joining Mantell in the chase: "What
the hell are we looking for?" (Ham-
mond stayed behind to refuel.) A
first hand account is given by Cap-
tain Willis Sperry, of his observa-
tion of a cigar-shaped object that
circled his American Airlines plane
in the vicinity of Washington, D.C.,
on the night of May 29, 1950. A brief
scene depicts the reactions of pilots
Vinther and Bachmeier in the cock-
pit of their Mid Continent air-
liner, just after takeoff from Sioux
City, Iowa, when they saw a large
lighted object head directly toward
them and pass some 200 feet to the
right, reverse its direction and pass
under the nose of the plane. There
is also a re-enactment of Lt. George
Gorman attempting to close
his
F51 on a light that refused to be
closed in on. This took place over
Fargo, N.D., on the night of October
1, 1948.
But the most fascinating sequence
is the reconstruction of the radar
observations of "bogeys" over Wash-
ington, D.C., on the nights of July
19-20 and
supervision
civilian rad
sponsible fo
of these ra
intercept m
on July 26-
dramatically
Washington
radar scope
of Lt. Willi
long with
"bogeys," wl
ted visually
The Mont
shown seve
course of th
they are rum
ped for close
fic points, t】
the films are
tion, reverse

[PAGE BREAK]

WORLD'S FIRST DOCUMENTARY
63
refer to; the reactions
witnesses are recon-
eral cases. By avoid-
of the objects in
have made two here-
Jewhouse and Mari-
ing actual u.f.o.s in
ably more forceful
S.
two cases, the film
Kenneth Arnold re-
1947, and describes
followed. The scene
Field tower during
se is reconstructed
; numerous details,
re, are related, in-
hes of two of Man-
Hammond and Hen-
r, along with a third
nd took off again,
n the chase: "What
boking for?" (Ham-
hind to refuel.) A
unt is given by Cap-
ry, of his observa-
shaped object that
ican Airlines plane
Washington, D.C.,
Tay 29, 1950. A brief
reactions of pilots
meier in the cock-
Continent air-
akeoff from Sioux
they saw a large
ad directly toward
me 200 feet to the
direction and pass
f the plane. There
ment of Lt. George
ing to close his
hat refused to be
s took place over
e night of October
cinating sequence
ion of the radar
geys" over Wash-
he nights of July
19-20 and 26-27, 1952. Under the
supervision of Wendell Swanson, the
civilian radar expert who was re-
sponsible for the technical analysis
of these radar trackings, the jet
intercept mission over Washington
on July 26-27 is realistically and
dramatically reproduced within the
Washington Control Center; the
radar scope clearly shows the "blip"
of Lt. William Patterson's jet, a-
long with a small cluster of the
"bogeys," which Patterson also spot-
ted visually as bright lights.
The Montana and Utah films are
shown several times during the
course of the film, and at the end
they are run again; action is stop-
ped for closer examination at speci-
fic points, the frames are enlarged,
the films are run again in slow mo-
tion, reversed, stopped again and
"Blips" showing plane surrounded by
mystery objects, visited on radar-scope.
then run through steadily several
more times. Upon first viewing, the
few seconds of film flip by so quick-
ly that they appear to leave much
to be desired. Upon closer inspection,
there is ample chance to absorb.the
real significance of this evidence. In
the Mariana sequence, two white
ovoid objects are shown moving lat-
erally, from right to left, across a
background of blue sky, flying equi-
distant from each other at a mod-
erately rapid rate of speed. Toward
the end of the 6-9 second sequence
the objects pass behind the support-
ing framework of a water tower,
then gradually diminish in size as
they fade into the distance. These
objects were headed into the wind.
The Utah film shows 16 bluish
white objects milling about in dis-
orderly groups of fives and sixes a-

[PAGE BREAK]

64
FLYING SAUCERS
gainst a blue background of sky.
They appear round and oval-shap-
ed, are fuzzy and not generally as
bright as the objects in the Mon-
tana film, but occasionally a few
of them brighten up considerably,
as though they were self luminous.
The photographer then swings to-
ward a single object that has moved
away from the rest, holding the
camera still to allow the object to
pass through its field several times.
This terminates the sequence, as the
main group moved too far away to
photograph again. This sequence
lasts a few seconds longer than the
Montana film.
After extensive analysis by the
Photo Reconnaissance Laboratory at
Wright
Patterson Air Force Base,
and the U.S. Navy Photo Interpreta-
tion Center at Washington, D.C.,
the possibilities that these objects
were meteors, balloons, birds, or any
known aircraft, have been eliminat-
ed. The Narrator tells his audience:
"The motion picture you have just
seen is authentic. It is substantiated
by documentation, eye
witness ac-
counts, supported by affidavits and
official Government reports. The
evidence has been presented to you
with integrity and objectivity to es-
tablish the fact that unidentified
flying objects. . . do exist. Some
kind of flying objects have been
photographed in the sky. If they
cannot be identified as objects
known to man what are they?
If they are not man made who
made them? If they are not of this
planet where are they from?"
The direction of the film is kept
low keyed throughout. There is
a static quality in the depiction of
the Chop, Fournet and Ruppelt
roles: one reason for not using pro-
fessional actors in these parts is,
presumably, because non-profession-
als add to the quality of the docu-
mentary.
There was a
bit of padding
throughout the film: depicting the
routine of filling out forms, and
other mechanical involvements with
the processes of red tape, lend little
of importance to the film. However,
some of what was felt at first to be
extraneous material is very proba-
bly essential to an audience less
familiar with the subject; for in-
stance, the repetition of newspaper
headlines proclaiming "SAUCERS"
in bold type may remind audiences
of much they had forgotten, and
perhaps make them wonder why
such headlines are no longer being
seen. And the occasional shots of
family life within the Chop house-
hold give a welcome relief to the
uniforms, so prevalent throughout.
A good deal of emphasis is placed
on a number of magazine articles
about u.f.o.s that had a major ef-
fect on public opinion. Among those
mentioned are the Life article of
April 7, 1952, entitled "Have We
Visitors From Space?" and the Look
article "Hunt For The Flying Sau-
cer," in the July 1, 1952, issue of that
magazine. There is a puzzling omis-
sion of any mention of Donald Key-
hoe; this is curious, since Keyhoe's
article in True magazine for Janu-
ary, 1950, and those appearing in
following editions, were as impor-
tant in moulding public opinion as
either the Life or Look references.
There is little point in making
these picayune criticisms: we have
here the sort of serious, intelligent,
and informative presentation
something we've waited for for a
long time which should have a
profound effect upon a misinformed
and apathetic public. It certainly
deserves everyone's attention.
Ted Bloacher
A
FLYING
South A
accordin
just reached
(Published in
pants contac
Klarer, whose
the contact
flight in the
own words.
backed up an
Edgar Sievers
known South
tigator, whose
uber Sudafri
pear in an E
The setting
f.
10
ta
t
of
al
id

[PAGE BREAK]

10
The Royal Society for the Pre-
vention of Cruelty to Animals
said their origin is a mystery.
On the same order as these "in
possibilities" comes a report froni
Wilder, Johnson County, Mo. A
swift, westbound Santa Fe pas-
senger train was speeding through
Wilder when both the engineer,
R. E. Lee, and his fireman saw the
body of a child fly through the
air.
FATE
The tracks were 13 inches by 5
Inches twice the size of the
tracks of a 650-pound bear which
was held captive in Wadesboro.
Morton saw the beast on a fog-
gy night as he drove up to the
riverside field. "It was foggy and
when I took a closer look the
moving object appeared to be a
man in a stooped over position.
Then the beast came out of the
melon patch and disappeared."
ARTIFICIAL MARS
Air brakes screamed; slowly the
train ground to a halt. Engineer At the University of British
Lee got our of his cab. "I'm sure
I struck a child," he said. The
word spread quickly through the
town. The sheriff was called.
Mothers were alerted.
A search began along the tracks
on each side of the train over a
distance of a mile. Mothers hunt-
ed out their children. The search
lasted 30 minutes.
No crumpled little body was
found. No child was missing. As
far as could be learned no child
had been seen playing near the
tracks.
The train continued on its way
to Topeka.
Late this Spring, Farmer Henry
Morton and Rural Policeman
Manley Thomas hunted a "huge
beast" that left footprints 13 inch-
es long in Morton's watermelon
patch near Wadesboro, N. C.
Columbia, students working un-
der Dr. D. James Wort have cre-
ated an artificial planet simulat-
ing life on Mars. A glass sphere
in a cold storage room on the
University campus serves to de-
monstrate life conditions on Mars
so far as earth scientists have been
able to judge them.
Pressure within the sphere was
one-tenth that of earth. Tempera-
tures varied between 87° and 4°
below zero for alternate 12-hour
periods.
1.2
The atmosphere within the
sphere was 98.5 per cent nitrogen,
.25 per cent carbon dioxide and
per cent argon.
Earth-type lichens and moss
were planted within the sphere.
At the end of a month one lichen
was dying and the moss was dead.
Another lichen was thriving, how-
ever.
The experiment proved the def-
I SEE BY THE PAPERS
11
Photo above is a scene from a hitherto "top secret" Air Force film being
used in United Artist's documentary movie, "Unidentified Flying Objects."
A radar screen image, scene shows an investigating Air Force jet inter-
ceptor surrounded by six UFO's over Washington, D. C. United Press Photo.
inite possibility of earth-type
plants living on Mars. How much
more likely that plants condi-
tioned to the Martian scene could
flourish there?
ANOTHER PLANET HEARD FROM
So far as is generally known,
until the month of May, 1956, the
Planet Venus had never been
heard from on radio telescopes.
Then in May, the Ohio State Uni-
versity Radio Observatory re-
ceived strong radio signals from
Venus on several occasions. The
signals were crackling sounds,
something like radio static from
thunderstorms on Earth. This an-
nouncement came out of Colum-
bus early in June.
Then on June 5, the U. S.
Navy reported that it too had
tuned in on Venus after receiving
the OSU report.
Navy scientists Cornell H.
Mayer, Russell M. Sloanaker and
Timothy P. McCullough, using
ultra sensitive equipment said that
the sounds they heard appear to
indicate that Venus is surrounded
by a cloud bank of about 220°
Farenheit 8° higher than the
boiling point of water at sea level.

[PAGE BREAK]

FLYING
SAUCERS
June 1957
WORLD'S 1ST DOCUMENTARY
"Flying Saucers" believes "Unidentified Flying Objects" to be
of such importance that it brings you two distinct reviews of the
film by Max.B. Miller, head of Flying Saucers International of
Los Angeles, California, and Ted Bloacher, Director of Research
at the Civilian Saucer Investigation of New York; both Prominent
and serious-minded investigators.
ISTED in Daily Variety as the
"biggest 'scoop' in the history
and
of the film business
regarded as "Hollywood's best-kept
secret," "Unidentified Flying Ob-
jects is the world's first feature-
length documentary motion picture
on the flying - saucer phenomena.
Not one hint of the epochal film
appeared in the gossip columns, not
one line in the trade papers, not
one word leaked in any of the u.f.o.
journals of the world; not, that is,
until it was previewed to the Press
on April 23, 1956.
I had the fortunate opportunity to
see the motion picture twice. First,
at Projection Room "A" at the Gold-
wyn studios, and then just one week
later at the film's first public ma-
tinee showing at the Fox Wilshire
Theater.
as it is unofficially des-
UFO"
ignated is a Greene Rouse pro-
duction, nationally released in the
United States in May-June through
United Artists Corporation. It was
produced by Clarence Greene, di-
rected by Winston-Jones (his first
time at it), written by Francis Mar-
tin and photographed by Howard
A. Anderson, Ed Fitzgerald and Bert
Spielvogel.
My reactions were decidedly mix-
ed after viewing this film for the
first time. Briefly, "U.F.O." is a 91-
58
minute almost completely black
and white documentary on the
u.f.o., from 1947 to 1952, featuring
two "actual" movies of u.f.o.s, in
flight, these being reproduced in
full color.
What probably amounts to the
three top ex-Air Force authorities
on the u.f.o. were all acquired as
technical directors for the three-
years In - the making "U.F.O."
namely, Albert M. Chop, former
chief, press section, Air Materiel
Command; Major Dewey Fournet,
Jr., U.S.A.F. intelligence officer and
liaison between the Pentagon and,
Project Blue Book; and Edward J.
Ruppelt (author, The Report On
Unidentified Flying Objects), for-
mer director, Project Blue Book (Air
Technical Intelligence Center, Day-
ton, Ohio). And a rather impressive
lot they were!
The film opens where most sauc-
er books do: the Kenneth Arnold
sighting of June 24, 1947, and ends
with the dramatic details of the so-
called "Washington Crisis" of July,.
1952.
The Arnold, Mantell, Gorman and
a number of the other better
known incidents are thoroughly re-
enacted. Outside of the Washing-
ton, D.C., affair, the Mantell story,
leading up to the time of his crash,
is the most spell - binding. Obvious
M
th
th
Tl
ac
VE
(J
M
PERNAH
st
la
al
T

[PAGE BREAK]

MOVIE ON FLYING SAUCERS
Reviewed By
Max B. Miller and Ted Bloacher
ack
n the
turing
o.s in
ed in
o the
orities
ed as
ree -
.F.O."
ormer
teriel
urnet,
r and
I and
ird J.
t On
LIFE
. for-
< (Air
Day-
FOR INTERPLANETARY
A scene
from
the movie
"Unidentified Flying
essive
sauc-
rnold
ends
Le so-
July,
1 and
ter
y re-
hing-
story,
rash,
vious
1. Objects", showing the degree of "roalism" used
theatrics were employed here and
there.
Now to the piece de resistance.
The two aforementioned clips of
actual u.f.o.s in fight are the now
very famous Delbert C. Newhouse
(Tremonton, Utah) and Nicholas
Mariana (Montana) color films.
Probably most of us recall these
shots as they were related in the
last two of Major Donald E. Keyhoe's
and Edward J. Ruppelt's Report On
The Unidentified Flying Objects.
59
Yet they proved to be somewhat dis-
appointing. Obviously, they are not
the answer. But they are another
cog which make the u.f.o.s go round,
Both groups (two u.f.o.s in the Mari-
ana sequence and over a dozen on
the Newhouse film) were photo-
graphed on 16-mm. film, at 16
frames per second, and through.
75 - mm. (3X) telephoto lenses.
"Flying Saucers" believes "Unidenti-
fied Flying Objects to be of such im-
portance that it brings you two dis-

[PAGE BREAK]

60
FLYING SAUCERS
tinct reviews of the film by Max B.
Miller, head of Flying Saucers In-
ternational of Los Angeles, Califor-
nia, and Ted Bloacher, Director of
Research at the Civilian Saucer In-
vestigation of New York; both pro-
minent and serious minded investi-
gators.
"Unidentified Flying Objects" most
certainly does not follow official
lines and policy; nor does it portray
an unbiased (from the skeptics'
viewpoint) history of the u.f.o. It
is for a pleasant change de-
cidedly pro-saucer. The customary
preface to such films 1.e., "We
gratefully acknowledge the co-oper-
ation of the United States Air
Force - was conspicuously ab-
sent.
Reaction to date has been essenti-
ally good. In fact, "U.F.O." received
surprisingly lengthy and thorough
reviews and news dispatches via the
various news media, including the
major wire services.
On the whole, Press reaction was
about as varied as it was interest-
ing. For
For example.
United Press: "The movie scoop of
the year..."; Los Angeles Examiner:
first- rate journalistic beat.
careful documentary. extremely
engrossing..."; Los Angeles Times:
the incidents depicted and the
words quoted just don't make
for very interesting drama, even
documentary drama"; Louella Par-
sons: ("U.F.O.")
is attracting
front page and editorial attention
although what the saucers are is
still a mystery..."
In a review titled "Film Proves
Saucers Exist!" Beverley Hills Press
reviewer Hazel Flynn pointedly asks:
"And as long as we are on the sub-
ject WHY HAVE WE HAD VISIT-
ORS FROM SPACE SINCE MR.
EISENHOWER TOOK THE PRESI-
DENTIAL CHAIR? Could it be that
the residents of other planets like
the men now engaged in smashing
the Stalin - worshipping cult in Rus-
sia are more friendly to Ike and
the Republicans than their pre-
decessors?"
And Mirror-News columnist Paul
Coates added a touch of intrigue
when he quoted the conclusion of
the Press showing telegram an-
nouncement he received:
Ur-
gently request contents of this wire
be kept confidential until showing
and conference at Academy Award
Theater."
"Feeling like a refugee from a
cloak
- and dagger plot," added
Coates, "I presented my credentials
at the theater. The man at the
door handed me a large envelope
and ushered me to a seat."
He concluded: "I doubt that very
many people who see the film will
fail to be convinced that we have
been receiving periodic visitations
from outer space."
"Unidentified Flying Objects" was
premiered to the public on May 9
at the Fox Wilshire Theatre, Los
Angeles. When I saw this film the
second time at that showing the ob-
jective was not to see the picture
again, but rather to check atten-
dance and audience reaction. This
was probably for the best, too. For
while I was thoroughly enthusiastic
after viewing. "U.F.O." the first time,
I found the second time round quite
a let down. However, the Utah and
Montana clips were well worth
examining again.
The approximate attendance at
the first matinee showing was 400
- and at $1.00 per head! An enthu-
slastic doorman told me, in effect,
that that was a "fantastic" number
for such an early hour (1:45 p.m..)..
The Fox Wilshire Theater, it was
late
atte
gro
late
atte
littl
B
Wil
bea
top
mel
"U.
of t
and
equ
pez
the
A
pre
and
thu
pro

[PAGE BREAK]

WORLD'S FIRST DOCUMENTARY
61
Tense drama in Radar Control Center In, Washing-
ton, D. C., as flying saucers disport over capital.
later reported, set an opening day
attendance record for the house,
grossing about $2,500 on May 9. I
later learned that the first week's
attendance figure was about or a
little above "average."
But even "average" for the Fox
Wilshire is fantastic for such an off-
beat film. The "Fox" is one of the
top first run, exclusive
engage-
ment theatres in the country.
"U.F.O." followed the world premier
of the multi-million dollar, "Alex-
ander The Great," and preceded the
equally expensive and touted "Tra-
peze. ." Not bad in any language for
the underdog u.f.o.
Audience reaction at the Press
preview was good, sprinkled here
and there with applause. Not so en-
thused were the crowd at "Fox,"
probably because they. and under-
standably expected something
better. "U.F.O." was greatly played-
up in Press notices and advertising,
and likewise on local television.
Quarter page Los Angeles news-
paper ads, for example, screamed-
"It appears to be a metallic ob-
ject of tremendous size
I'm
trying to close in on it!' (Mantell,
obviously Au.) AND THEN HE
CRASHED! THE TRUTH ABOUT
FLYING SAUCERS! YOU WILL
SEE THEM WITH YOUR OWN
EYES: Actual color films of the Uni-
dentified Flying Objects that have
been kept 'top secret' until now!.
EVERY SHOCKING WORD, EVERY
FANTASTIC SCENE EVERY
FRIGHTENING MOMENT IS
TRUE!
To sum up I can do nothing but
at least recommend "Unidentified

[PAGE BREAK]

62
FLYING SAUCERS
to all so-called
Flying Objects"
"saucer - fans" but if for no oth-
er reason than to see the famed,
and hitherto purportedly, "secret,"
U. F. O. films. The movie isn't, on
the whole, particularly interesting.
The pace is slow, the action stiff. It
is largely what is so disparagingly
referred to as "re hash." But it
might be a good idea to remind our-
selves again of the composite his-
tory of the u.f.o. and to be led back
to the objective path. To those who
are dogmatically skeptical of the
u.f.o.. this film will prove of little
value. But for the open-mindeds
and undecideds, it should be a tre-
mendous wedging block for greater
interest and truthful searching.
O
Max B. Miller
N May 9, together with about
thirty members of Civilian
Saucer Intelligence of New
York, I attended a special preview
of a film that could very well change
the public' relations aspect of the
u.f.o. overnight. Messrs. Greene and
Rouse have handled their contro-
versial subject matter in an alto-
gether factual and down to
earth manner. They have been care-
ful to use only, material that can
be fully substantiated by official
documents from the Air Force files.
A somewhat slim storyline, inter-
woven through the film, re-enacts
the activities of Al Chop during his
tenure of office with the Air Force
as Civilian Information Specialist.
During this time, Chop's skepticism
gradually changed to interest, and
eventually to his final conviction
that "the saucers are interplane-
tary."
The producers have wisely refrain-
ed from trying to duplicate the vis-
aul appearance of u.f.o.s in any of
the cases they refer to; the reactions
of some of the witnesses are recon-
structed in several cases. By avoid-
ing facsimiles of the objects in
question, they have made two here-
tofore secret Newhouse and Mari-
ana films showing actual u.f.o.s in
flight considerably more forceful
and conspicuous.
Beside these two cases, the film
mentions the Kenneth Arnold re-
port of June 24, 1947, and describes
the furore that followed. The scene
in the Godman Field tower during-
the Mantell chase is reconstructed
with great care; numerous details,
not known before, are related, in-
cluding the names of two of Man-
tell's wing men, Hammond and Hen-
dricks. The latter, along with a third
pilot, landed and took off again,
joining Mantell in the chase: "What
the hell are we looking for?" (Ham-
mond stayed behind to refuel.) A'
first hand account is given by Cap-
tain Willis Sperry, of his observa-
tion of a cigar shaped object that
circled his American Airlines plane
in the vicinity of Washington, D.C.,
on the night of May 29, 1950. A brief
scene depicts the reactions of pilots
Vinther and Bachmeier in the cock-
pit of their Mid Continent air-
liner, just after takeoff from Sioux
City, Iowa, when they saw a large
lighted object head directly toward
them and pass some 200 feet to the
right, reverse its direction and pass
under the nose of the plane. There
is also a re-enactment of Lt. George
Gorman attempting to close his
F51 on a light that refused to be
closed in on. This took place over
Fargo, N.D., on the night of October
1, 1948.
But the most fascinating sequence
is the reconstruction of the radar
observations of "bogeys" over Wash-
ington, D.C., on the nights of July
19-
sup
civi
spo
of
int
on
dra
Wa
rad
of
lon
"bo
ted
I
sho
cou
the
ped
fic
the
tior

[PAGE BREAK]

WORLD'S FIRST DOCUMENTARY
63
19-20 and 26-27, 1952. Under the
supervision of Wendell Swanson, the
civilian radar expert who was re-
sponsible for the technical analysis
of these radar trackings, the jet
intercept mission over Washington
on July 26-27 is realistically and
dramatically reproduced within the
Washington Control Center;
radar scope clearly shows the "blip"
of Lt. William Patterson's jet, a-
long with a small cluster of the
"bogeys," which Patterson also spot-
ted visually as bright lights.
the
The Montana and Utah films are
shown several times during the
course of the film, and at the end
they are run again; action is stop-
ped for closer examination at speci-
fic points, the frames are enlarged,
the films are run again in slow mo-
tion, reversed, stopped again and
"Blips" showing plane surrounded by
mystery objects, visited on radar-scope.
then run through steadily several.
more times. Upon first viewing, the
few seconds of film flip by so quick-
ly that they appear to leave much
to be desired. Upon closer inspection,
there is ample chance to absorb the
real significance of this evidence. In
the Mariana sequence, two white
ovoid objects are shown moving lat-
erally, from right to left, across a
background of blue sky, flying equi-
distant from each other at a mod-
erately rapid rate of speed. Toward
the end of the 6-9 second sequence
the objects pass behind the support-
ing framework of a water tower,
then gradually diminish in size as
they fade into the distance. These
objects were headed into the wind.
The Utah film shows 16 bluish
white objects milling about in dis-
orderly groups of fives and sixes a-

[PAGE BREAK]

64
FLYING SAUCERS
gainst a blue background of sky.
They appear round and oval-shap-
ed, are fuzzy and not generally as
bright as the objects in the Mon-
tana film, but occasionally a few
of them brighten up considerably,
as though they were self luminous.
The photographer then swings to-
ward a single object that has moved
away from the rest, holding the
camera still to allow the object to
pass through its field several times.
This terminates the sequence, as the
main group moved too far away to
photograph again. This sequence
lasts a few seconds longer than the
Montana film.
After extensive analysis by the
Photo Reconnaissance Laboratory at
Wright Patterson Air Force Base,
and the U.S. Navy Photo Interpreta-
tion Center, at Washington, D.C.,
the possibilities that these objects
were meteors, balloons, birds, or any
known aircraft, have been eliminat-
ed. The Narrator tells his audience:
"The motion picture you have just
seen is authentic. It is substantiated
by documentation, eye witness ac-
counts, supported by affidavits and
official Government reports. The
evidence has been presented to you
with integrity and objectivity to es-
tablish the fact that unidentified
flying objects . do exist. Some
kind of flying objects have been
photographed in the sky. If they
cannot be identified as objects
known to man - what are they?
If they are not man made who
made them? If they are not of this
planet - where are they from?"
The direction of the film is kept
low keyed throughout. There is
a static quality in the depiction of
the Chop, Fournet and Ruppelt
roles: one reason for not using pro-
fessional actors in these parts is,
presumably, because non-profession-
als add to the quality of the docu-
mentary.
There was a bit of padding
throughout the film: depicting the
routine of filling out forms, and
other mechanical involvements with
the processes of red tape, lend little
of importance to the film. However,
some of what was felt at first to be
extraneous material is very proba-
bly essential to an audience less
familiar with the subject; for in-
stance, the repetition of newspaper
headlines proclaiming "SAUCERS"
in bold type may remind audiences
of much they had forgotten, and
perhaps make them wonder why
such headlines are no longer being
seen. And the occasional shots of
family life within the Chop house-
hold give a welcome relief to the
uniforms, so prevalent throughout.
A good deal of emphasis is placed
on a number of magazine articles
about u.f.ó.s that had a major ef-
fect on public opinion. Among those
mentioned are the Life article of
April 7, 1952, entitled "Have We
Visitors From Space?" and the Look
article "Hunt For The Flying Sau-
cer," in the July 1, 1952, issue of that
magazine. There is a puzzling omis-
sion of any mention of Donald Key-.
hoe; this is curious, since Keyhoe's
article in True magazine for Janu-
ary, 1950, and those appearing in
following editions, were as impor-
tant in moulding public opinion as
either the Life or Look references.
There is little point in making
these picayune criticisms: we have
here the sort of serious, intelligent,
and informative presentation
something we've waited for for a
long time which should have a
profound effect upon a misinformed
and apathetic public. It certainly
deserves everyone's attention.
Ted Bloacher
ju
(P
pa
Kl
th
fli
OW
ba
Ec
kr
tiş
ut
pe

[PAGE BREAK]

THE FIFTH HORSEMAN OF THE APOCALYPSE
UFOS: A HISTORY
1957: MARCH 23RD MAY 25TH
by
Loren E. Gross
Copyright © 1995
Fremont CA

[PAGE BREAK]

80
A priority message was sent to BLUE BOOK's field investigative unit, the
4602nd AISS which was headquartered at ENT AFB, Colorado (Question: Didn't
BLUE BOOK have detailed records at Wright Field? --L.E. Gross) asking for
the details of the investigation since a summary stating the UFO was
astronomical in nature was not adequate. To be sure, Keyhoe's claims were
spelled out. (See BLUE BOOK document) (110.)
16 May. Hartlepool, England.
A trio of glowing objects was noticed by numerous witnesses at the city
of Harlepool. The following account mentions four of the observers:
"Mr. A.T. Gyllenspetz, of Moore Street, West Hartlepool, was
leaving his daughter's house in Thornville Road after watching
TV there, when he saw them clearly 'hovering in the sky.' 'He
said the lights certainly looked solid,' and they were not air-
craft. They hovered for a few minutes and then sped out to sea.
He added that as he watched them they made a purposedful zigzag,
as though searching for something. His daughter and son-in-law
also saw them.
"A young couple, Mr. S. Proudlock and Mrs. V. Ward, were taking
a dog for a walk on Odland Avenue, where Miss Ward lives. They,
too saw the lights.
"One thing is certain,' said Mr. Proudlock 'They were not from
aircraft. Two of them stood still in the sky for fully five
minutes. Then another came up underneath them and turned around.
After that they went out to sea.'
'Miss Ward added that the night was very still but there was no
sound of planes.' (111.)
17 May. The movie UFO and the Ground Observer Corps.
Capt. William B. Walburn, Commander of Detachment 8, 4674th Ground Ob-
server Squadron, Robbins AFB, Marietta, Georgia, had what he thought was a
bright idea to promote the recruitment of civilian volunteers. The Holly-
wood film UFO was playing in local theaters and Capt. Walburn wanted to
place recruitment displays in the lobbies of the movie houses, but the Air
Force was in no mood to be associated with anything that might indicate
UFO sightings were authentic. (See official letter as reproduced by the
NICAP organization) (112.)
17 May. More irritating news.
In the middle of all their other headaches, BLUE BOOK heard again from
UFO buff Leonard Stringfield. Stringfield, a man BLUE BOOK considered a
pest that wouldn't go away, had discovered the Tacoma News Tribune UFO
story of April 2nd which contained strange comments by an "Air Force in-
vestigative team.' For many at Wright Field Stringfield's letter served
as an example of how far out of control things could get unless such pro-
blems were quickly addressed. (See Stringfield letter) (113.)
17 May. Saucer talk given to the Science Society of Malaya.
The following stories appeared in the influential Straits Times as re-
printed by the Quarterly Journal of the Civilian Saucer Investigations.
(114.)
S
A
2148

[PAGE BREAK]

83
PAGE 14
THE UFO INVESTIGATOR
Air Defense Command Forbids
GOC Link with Film
An Air Defense Command order which banned Ground Observer Corps efforts to
publicize a documentary UFO film has recently been revealed to NICAP. The ADC
action followed a request by the 4674th Ground Observer Squadron, Miami, to use a
GOC display in connection with the moving picture "Unidentified Flying Objects."
A copy of the order follows:
Headquarters
4674th GROUND OBSERVER SQUADRON
United States Air Force
Dobbins Air Force Base
Marietta, Georgia
O&T
SUBJECT:
United Artists Film "UFO"
TO:
17 May 1957
Commander, All Detachments
4674th Ground Observer Squadron
The following message from ADC is quoted for your information and guidance:
"ADHIS 22573. Disapprove requests for GOC Display in connection with commercial
film pertaining to the controversial subject of flying saucers. Use of Display would
involve the risk that Air Force could be considered as endorsing subject matter and
authenticity of the filmed version of flying saucers."
BY ORDER OF THE COMMANDER:
/S/
DONALD A. ZEINE, Major USAF
Adjutant
The official request to tie in the GOC
program with the documentary United
Artists film was made by Capt. William
B. Walburn, UFAF, Commander of Detach-
ment 8, 4674th Squadron.
The ADC refusal seems to answer, once
and for all, the question which NICAP
members have frequently asked:
Was the documentary film "Unidentified
Flying Objects" produced with Air Force
cooperation-or against its wishes?
From letters received, it appears that
less than half of NICAP's members saw
this moving picture, which includes the
famous Tremonton, Utah film taken by
Warrant Officer D. C. Newhouse, and the
movie of two UFO's taken by Nick Mariana
at Great Falls, Montana.
Even those who did see the picture may
be unaware of the stops which led to public
use of the Newhouse and Mariana shots.
The action for narrative purposes in the
film is centered on Albert M. Chop, former
Air Force public relations official who
handled UFO information in the Pentagon.
(Chop is now a NICAP Special Adviser.)
Cleared for secret reports, Chop leamed
of the officially analyzed Mariana film
taken on August 15, 1950, which shows
two silvery-looking discs flying over the
Great Falls baseball park.
In 1952 Chop learned of the Newhouse
moving picture taken on July 2, a color
film which shows a formation of UFO's
maneuvering over Utah. Later Newhouse
described the objects as resembling two
O
B

[PAGE BREAK]

84
pie pans, one inverted on top of the other.
The film was secretly analyzed for months,
first by the Air Force then by the Navy.
Conclusion: The UFO's were not conven-
tional objects.
Al Chop also took part in the story that
made headlines in July 1952 during the
UFO sightings over Washington National
Airport. With Major Dewey Fournet (now
a member of NICAP's Board of Governors)
he watched Control Center radar experts
track a group of mysterious objects. Both
he and Fournet also heard an AF jet pilot's
tense radio report that the UFO's were
closing in on him-an incident later re-
lated in the documentary film.
When Chop resigned in 1953 to take a
public relations job with an aircraft firm,
he and Captain Edward Ruppelt met in
Califomia with film producer Clarence
Green and the idea of the movie "U.F.O."
was bom. By this time Ruppelt was on
inactive duty and free, like Chop, to
express his personal beliefs. Green, senior
partner of Green-Rouse Productions, was
strongly interested because he had seen a
UFO a few years before.
Working together, Ruppelt, Chop and
Clarence Green persuaded Warrant Officer
UFO FILM from Page 14
Newhouse and Nick Mariana to let their
UFO films be used. Since the Air Force
had publicly stated that the films were the
personal property of these men, there was
no violation of security, though the Air
Force still refused to let the press and the
public see the official copies.
Though Producer Green offered the Air
Force full cooperation, the official analysis
reports of the two films were not released
to him. Some Air Force officers privately
favored giving Green-and the public-
all available evidence, but they were
overruled.
After the documentary film was released
the Air Force denied it had cleared, spon-
sored, or in any way coordinated any
motion pictures on UFO's. The recent Air
Defense Command action, cited at the
start of this story, should end all con-
jecture that this was on official step
toward "educating the public."
Despite this, the picture has performed
a great service. Many former skeptics
have reported their conviction as to the
reality of UFO's after seeing this film.
NICAP urges members who have not seen
it to secure repeat runs at local theaters.
In several cases, UFO clubs or groups have
arranged for special showings at low rates,
usually at hours when theaters normally
have small audiences.
We believe this factual revelation of
UFO evidence will be well worth any
special efforts required, for despite the
lack of an Air Force blessing, this is
an important step toward ending official
secrecy.
are
Many members sending NICAP
names of prospects. Make yourself o
Membership Committee of One and ex-
tend to your friends the invitation to join.
I
C
S
C
J

[PAGE BREAK]

nce.
25th
be
T-
y
y
109. Ibid.
108. Flying Saucer Review. September/October 1957. Vol. III, No.5.
110. May be located in Air
111. Flying Saucer Review.
112. The UFO Investigator.
113. May be located in Air
Force BLUE BOOK files by the date: 23 March 57.
July/August 1957. Vol. III, No.4. p.8.
August/September 1957. Vol.I, No.2. p.14.
Force BLUE BOOK files by the date: 17 May 57.
114. Singapore, Malaya. The Straits Times. 17 May 57.
115. Fate. Vol. II, No. 2. Issue #95. p.31.
116. Price, Robert. UFOs Over Hampshire and the Isle of Wright. Ensign
Publications, Shirley, Southhampton, England. PP.11-12.
117. May be located in Air Force BLUE BOOK files by the date: 21 May 57.
118. Hastings, New Zealand. Hawks Bay Herald. 21 May 57.
119. The UFO Investigator. July 1957. Vol. 1, No.1. pp.14-15.
120. Ibid.
121. The UFO Investigator. Vol. I, No.1. July 1957. p.7.
123. S.P.A.C.E.
122. May be located in Air Force BLUE BOOK files by the date: 22 May 57.
June 1957. p.6.
125. Kansas City, Kansas.
124. Flying Saucer Review. July/August 1957. Vol. III, No.4. p.8.
Kansan. 24 May 57.
127. Kent County, Maryland. News.
126. Wortsman, Gene. Scripps Howard Syndicate. Washington D.C. 23 May 57.
(Chestertown) 6 June 57.
ey,
E

[PAGE BREAK]

THE FIFTH HORSEMAN OF THE APOCALYPSE
UFOS: A HISTORY
1956: MAY JULY
by
Loren E. Gross
Copyright © 1993
Fremont CA
S

[PAGE BREAK]

ring
R
er
the
bart
on
s
B
No
be,
the
e
a well
ch interest
aterial.
gence an-
of his
isit to
urn out
CIA report:
"Country: Hungary.
Date: May 56.
Source: (... deleted)
"1. During the early part of May 1956, I was told by several en-
gineers, close associates whom I believe to be reliable, that the
Ministry of Defense was alerted concerning the overflight of a
formation of unknown flying objects, flying in an easternly di=-
rection during that month.
"2. My friends related that what appeared to be aircraft, flying
in formation at an extremely high rate of speed at approximately
25,000 meters, were observed by radar units of the (illegible) Air
Defense Command. Nothing was done to disturb this flight, the pro-
bable reason being that the (illegible) Air Defense Command had no
weapon at its disposal to reach these intruders.
"3. During the same period, May and June 1956, many reports origi-
nating from all sections of Hungary cited the appearance of 'Flying
Saucers.""
(9.)
Bad times for Donald Keyhoe.
Things were just not going Keyhoe's way during this period. His letter to
Senator Byrd had failed to produce any tangible result, the movie U.F.O. ignored
any contribution he had made to an understanding of the UFO mystery, and E.J.
Keyhoe had come to consider Ruppelt as
Ruppelt stopped writing him letters.
a friend and exchanged letters with the ex-BLUE BOOK chief on a more or less
regular basis. Keyhoe said:
"In 1956 no letter was received. Ruppelt later told me he was
embarrassed because he had felt it advisable to 'take a few digs'
at me in his book, 'Report on Unidentified Flying Objects.' He
said that some AF officials suspected (mistakenly) he had tipped
me off to hidden UFO cases during 1952-3." (10.)
The failure to write Keyhoe also did not mean Ruppelt had lost in rest
in the UFO subject, or had become a non-believer. Some remarks by the one
time Air Force Captain on May 3, 1956 indicate otherwise. During a alk
to the San Diego, California, Chamber of Commerce, Ruppelt remarked: The
Air Force is no closer to a solution than in 1947....Veteran militar and
airline pilots still report UFOs. They should not be regarded light
(11.)
Ruppelt made these remarks at an interesting time. The movie U.F. J.
was due to premier in Southern California in less than a week and the
event was receiving the full Hollywood treatment. Besides the usual ress
notices, the studio paid big money for newspaper advertisements and promo-
tional commercials on local television.
6 May.
Oklahoma City, Oklahoma.
The star Capella "zig-zags across the sky."
Three witnesses viewed a UFO. Two of them felt they had observed some
The remaining witness had no idea what the ob-
sort of strange machine.
ject was and had never seen anything like it before. The Air Force, if
j

[PAGE BREAK]

10
you can believe it, settled on the star Capella as an explanation. One
(12.)
can read the accounts and make up his own mind. (See BLUE BOOK documents)
F
6 May. "Silly season."
The CSI Newsletter, May 6th edition, frontpaged an article by Ted Bloecher
dealing with the uncooperative attitude of the editor of the New York paper,
the Long Island Press. It seems the newspaperman wasn't especially enam-
ored with aerial phenomena reports even though 3-4 a week crossed his desk
Bloecher asked the editor about the fate of such reports if they were never
published in the Press. The editor remarked:
"We refer them to Mitchel Field -they're the ones who receive this
kind of call,' was his candid reply. Besides, he was convinced that
the public no longer took this sort of thing seriously.
"He expected that more calls, of this type would be coming in now,
since 'its the season for flying saucers.' When we remarked that
we'd heard that the summer was usually set aside for such frivolities,
he retorted that 'it starts along about now and continues on through
the end of August.'" (13.)
8-9 May. Pratt, Kansas.
A press report stated:
"Four luminous objects -described as 'resembling two saucers back-
to-back' -were observed at 8:30 p.m. by attendants at a drive-in
theater as well as 'trained Ground Observer Corps members on duty
in the observation post. At 12:30 a.m. a single UFO was spotted,
and at 1:30. Filter Center Commander, Lieut. Ken Schartz, official-
ly confirmed the reports, adding 'they certainly had seen some-
thing. He described the UFOs as 'glowing pink with shadings of
orange and green,' and said the objects had disappeared in a north-
easterly direction." (14.)
9 May. The premier of the movie U.F.O.
The premier for the film U.F.O. was on the West Coast where it opened on
May 9th at the Fox Wilshire in Los Angeles. Local civilian saucer expert
Max B. Miller, editor of the L.A. -based "Saucers" news bulletin, was at the
head of the line for the first showing at 1:45 in the afternoon. Having
already seen the film at an earlier screening, it wasn't the movie itself
that prompted Miller's interest. The saucer buff was bursting with curio-
sity about the impact that the semi-documentary might have on the public.
The setting was encouraging because the Fox was a top-rated, first-run,
exclusive engagement theater that had just finished hosting the premier of
the multi-million dollar hit Alexander The Great starring Richard Burton.
Miller counted 400 people at the matinee for U.F.O. and learned from the
doorman that such a number was amazing for such an unusual, low budget,
production.
Sitting through the film for a second time was for Miller, in his own
words, "quite a let down" until the climax when the Utah and Montana UFO
footage appeared on the screen. These frames were fascinating, the nearest
thing to seeing with one's own eyes something authorities insisted didn't
exist.
1. DATE
PROJECT

[PAGE BREAK]

pe
th
e
24
After seeing the film for the second time Miller realized: "...advertise-
ments for the Green-house picture promised to satisfy curiosity but the
actual film failed to deliver the excitement people expected." (16.)
By the end of the first week's run the high attendance records being set
by the film U.F.O. had shrunk to average totals. The movie did not have
"legs" as they say in Hollywood.
9 May. Jacksonville, Florida. The real show on May 9th.
"I sure had a fear of being kidnapped."
The real show on May 9th had to be the adventure of Joan Frost of Jackson-
ville, Florida. Joan was a serious, well behaved, honor student with no in-
terest in the subject of flying saucers, yet, on the night of May 9, 1956,
she was the central figure in an episode so strange she hesitated to contact
the police even though she experienced a bad scare. Eventually she wrote a
letter to her father (who was out of town) knowing that he had complete con-
fidence in her aversion to pranks or lies. The letter refers to some ad-
ditional witnesses, one of which was her best friend Gertie Wynn.
Joan wrote that she and her friend Gertie had left a dance at 10:15 p.m.
and walked to a bus stop close by. It was a neighborhood of few houses and
little traffic, in fact at 11:00, at the onset of the UFO incident, no cars
or pedestrians were in sight.
At 11:00 p.m. Joan and Gertie noticed two "star-light bodies" pass over
head at a high altitude. Pulsating with light and following one behind the
other, the pair of brilliant dots streaked out of sight. A quarter of hour
later (the bus still hadn't arrived), according to Joan, the two UFOs:
"...came back and one went up into the other. It came over towards
us and dropped lower and lower until it got just over us.
It was
round and red and had three lights on it. I started to run down the
street and Gertie just stood there with her mouth wide open. The
thing didn't make a sound, no engine or motor or anything. Just then
the bus came and the object rose again. The door (on the bottom)
opened up and the other object came out. [The apparent fact that the
second object was smaller was confirmed by Joan in a subsequent inter-
view]. The two objects started moving slowly away. There were only a
few people on the bus and they and the driver got out. We all watched
the objects go for about ten minutes. The bus driver said they
couldn't be jet planes because being so low we surely would have heard
the jet engines. We knew they weren't jets. Gertie and I skook all
night long. We thought we were gonners for sure. Whatever they were
they saw us standing there. After our experience, we bought two books
on flying saucers and are going to study them." (17.)
A co-worker of Joan's father, Richard Scocchera, learned of the letter and
knew the girl wasn't the type of youngster to imagine things. Mr. Scocchera
obtained the information and forwarded it to UFO researcher Leonard String-
field. The CRIFO chief was impressed with the story and contacted the school
girl for more details. Joan wrote back, telling Stringfield the area of the
sighting was exceptionally dark because there was no street lights. The
objec
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[PAGE BREAK]

Kit Pa
20
The CSI meeting fiasco, although amusing, had serious implications. A sharp
difference in approach to the UFO problem could disrupt an organization. The
fate of the Grand Rapids, Michigan, Flying Saucer Club (established in 1951) is
a case in point. The group published the newsletter Uforum, and in its heyday
attracted as many as 750 people to its meetings, many times the number of
people in attendance at CSI of New York functions. Over time the Flying Saucer
Club became divided between the scientifically-minded that demanded ongoing in-
vestigations, and "believers" that knew UFOs were interplanetary craft piloted
by space brothers striving to help mankind. The Michigan group did not survive
the split in its ranks.
29 May. "Queer visitors" return to Washington D.C.
(See clipping)
11 May
Auntlet now try on the
* Pr
m
11 MAY.
Kaylin Hein hin mower
Team Gopal Kelly vit 'ten Byrd
When General Kelly's response to Keyhoe's questions finally reached the UFO
book author/investigator. Keyhoe was shocked by the General's letter. None of
the 11 specific questions were answered by the General. The use of the flawed
Special Report #14, errors in fact, and distorted reasoning convinced Keyhoe
a United States Senator can get the true facts from the
that: "...not even
Air Force, unless there is a nationwide, concerted effort by enough of the pub-
lic to end this censorship..." (30.)
When the editors of the CSI Newsletter studied Keyhoe's letter and the
General's reply, they were also outraged at the evasion to Keyhoe's questions,
the evasion: "...a sleazy dismissal of the significance of the eleven queries,
coupled with a decided innuendo regarding Keyhoe's motives..." (31.)
1 June.
Apparently the Pentagon expected inquiries about the movie U.F.O. when
the film opened in Washington D.C. Mr. M.A. Monts of the Air Force Press
Room (Number 2E761), the Pentagon, requested the latest data on the Utah
and Montana UFO film clips used in the Green-Rouse picture. Colonel John
G. Eriksen, USAF supplied a memo to the office of the Director of Intelli-
gence, detailing the military's position on the matter. (See memo. The
document has been re-typed for greater clarity)
One can see that the Air Force was trying to defend its position by us-
ing such words as "in all probability," and "strong possibility" without
going into detail about how these judgements were made. The statements in
the memo were nothing new with the exception of a reference to a "recent"
study made by an "aircraft manufacturing firm" which no doubt was the Baker
analysis. What the Air Force was saying here, simply put, was that Baker's
work supported its own earlier conclusions. Well, maybe that's not exactly
accurate since the Air Force used the words "strongly corroborative," and
that in any case Baker produced "no compelling reason" to alter its original
findings. If there was even the slightest chance of a "conventional expla-
nation, however remote, the Air Force was going to embrace it.

[PAGE BREAK]

A
85
ECEREY
31
A-34
THE EVENING STAR, Washington, D. C.
THURSDAY, MAY 81. 1066
THE PASSING SHOW
Saucers Fly Again
D-Day Is Recalled
By JAY CARMODY
UNIDENTIFIED PLTINO OBJECTS,
United Artists release, presentation by
Clarence
Greene-Russell Rouse pro-
duced by Greene, directed by Winston
Jones. written by Prancis Martin. mu-
gle by Erneal deld, at the Columbia
Theater.
This town apparently is daft
about flying saucers.
At least, so it was intimated
yesterday at the packed Colum-
bia Theater which observed Me-
morial Day by opening the latest
Clarence Greene-Russell produc-
tion, "Unidentined Flying Ob-
jects."
Regardless of where one stands
on flying saucers, which are
known in the airplane trade as
UFOs or "unknowns," there is
no questioning the diligence with
which the Columbia Alm's mak-
ers pursue the subject.
Their approach to it is the
documentary one. This is to say
that they have gathered to-
gether as many as possible of
those who have had what might
be called professional experience
with UFOs. Moreover, to the de-
gree possible, they have gathered
all available unclassified reports,
and Alms from omcial sources.
By putting these together-
persons, papers and film-they
have made a curiously absorb-
ing Alm out of whatever it is, or
is not, that seems to regard the
earth as a planet worth visiting.
The film has a peculiarly local
emphasis in that Washington's
July, 1952, saucer binge provides
the picture's climax.
This will be remembered as
the appearance of 14 unidenti-
fled objects which turned up on
both the National Airport's ra-
dar screen and many a naked
eye at that time. Everybody, of-
Acial and unomcial was quite
excited about these visitors. Ten-
alon ultimately, was eased by the
explanation that heat inversion
caused the strange phenomena.
This, the Columbia's film ex-
plains now, was incorrect and
_was injected into the incident
to get an already overheated
National Capital back to nor-
mal.
Next to the Washington epl-|
sode in interest among the Alm's
documentary sequences are the
saucer films taken in Montana
and Utah, these in color. The
akeptic may not find these de-
Anitive but the allvery discs on
their fields of blue will surely
fire the imaginations of those
who remember the Wrights were
once told they would not fy.
Could it be that this skepti-
clam is why we are being out-
Blown today by the saucer peo-
ple? Don't ask us
The film U.F.O.
finally opens in
the city that had
a starring role
in the picture's
climax.
The same day
Donald Keyhoe
received a
shocking letter
from General
Kelly.

[PAGE BREAK]

P10
M
EHORE
1 June 1956
"MEMORANDUM FOR DIRECTOR OF INTELLIGENCE
Attn: Lt Colonel T. R. Johnson. AFOIN-X
SUBJECT: (Uncld) UFO Movie
1. The following statements concerning two of the UFO
sightings described in the recently released movie, are sub-
mitted in response to Mr. Monts' request of 29 May 1956.
a. (...deleted) - Montana 1950. The original
Air Force conclusion, based on the interrogation of witnesses
and the evaluation of the data, was that the UFOs were, in all
probability, two Air Force F-94 fighter aircraft known to be
in the vicinity at the time.
Simulated photographs of aircraft at various distances
made by an aircraft manufacturing firm in a recent independent
and unsolicited analysis of the Mariana film, show striking
similarity to the two white blobs in this film.
Based on the degree of credibility accorded this early
ATIC evaluation and the strong corroborative evidence supplied
by the recent independent analysis, the Air Force has no com-
pelling reason to alter its original conclusion.
b. The (...deleted) Case - Utah 1952. The original film
was analyzed by an Air Force Photo Reconnaissance Laboratory
shortly after the sighting. The conclusion reached was that a
strong possibility existed that the bright spots of light ap-
pearing on the film were caused by seagulls soaring in the
thermal air currents. The credibility of the conclusion was
undoubtedly supported by the presence of identifiable seagulls
in some of the frames.
This conclusion was further strengthened by movies of
seagulls, taken at various distances, which showed them as
bright spots of light similar to those in the (...deleted)
film.
A recent analysis of the Newhouse film, made by Air
Force photo specialists totally unaware of the previous history
of this case, yielded the opinion that the bright spots of
light on the film were bird reflections in the strong sunlight.
The unanimity of opinion present in all evaluations
made in this case leaves little reasonable doubt that the UFOS
in the (...deleted) film were indeed seagulls.
2. Attached is a copy of this memo to be given to Mr. M.A.
Monts in the Air Force Press Room in the Pentagon.
JOHN G. ERIKSEN
Colonel, USAF
Deputy Commander." (33.)

[PAGE BREAK]

33
33
1 June.
"Where are the saucers?"
Surveying the saucer scene in his June 1st issue of Orbit, Leonard
Stringfield expressed wonder at the lull in UFO sightings. After a strong
start at the outset of the year, UFO reports had dipped to an unexpected low.
In fact, there is no UFO case worth noting in BLUE BOOK files from May 6th
The better cases for this period have been gleaned from civilian
sources. With the combination of warm weather and a close Mars opposition,
to June 5th.
conditions seemed ripe for swarms of saucers if the past was any guide. It
was time for the "silly season," as the editor of the Long Island Press liked
to call it. With things so quiet, Stringfield planned to take a well earned
vacation from his job, and the saucers.
The military was puzzled also.
With the movies U.F.O. and The Earth Vs
The Flying Saucers playing in theaters around the country, it was reasoned
that John Q. Public would be all worked up and producing scores of UFO reports
every day. (33.)
5 June.
The movie U.F.O. and Stringfield.
Many readers of Orbit wanted the leader of C.R.I.F.O. to comment on the
Stringfield obliged, noting that much of the material in the
film was of an old vintage, yet he recognized two key points concerning the
film U.F.O.
Clarence Greene-Russell production: 1) The release into the public domain
of the long suppressed Utah and Montana UFO footage, 2) New data on the 1952
Washington D.C. radar case was revealed, specifically the apparent intelli-
gent maneuvers of the targets on the airport scopes. (34.)
A search of UFO literature sheds more light on these two points. It seems
that the Air Force had refused to permit the public or the press to see the
Montana and Utah films even though the military admitted the films were the
personal property of the civilian-photographers. Eventually, the two films
were returned to their legal owners (although there was some dispute over
Some people suggested that the use of the two film clips
in a Hollywood movie was part of a "plan to educate the public about UFOs.'
missing frames).
When this suggestion was made, Ruppelt, Chop, and Clarence Green came forward
The three men said they joined forces to talk Newhouse and
Mariana into permitting the use of the footage and that the Air Force was not
to deny the idea.
In fact the Air Force went out of its way to say it had never
cleared, sponsored, or in any way coordinated the two film clips for any
This official denial was made in 1957 when the Ground
involved.
Observer Corps units tried to recruit volunteers by the use of the movie
theatrical release.
The Air Defense Command issued orders that required all GOC units
to avoid any link to the Greene-Rouse production. (35.)
U.F.O.
As for Stringfield's point about the 1952 Washington D.C. radar incidents,
he is quite correct to single out the fact new information about the case
The dramatic incident when Lt. Patterson's jet is
surrounded by strange radar blips, which close in on the fighter and then
had been made public.
backed off, was something that needed to be brought to the public's atten-
tion. Making it an important part of the movie's climax was the perfect way
to do it.
5 June. Birmingham, Alabama.
The UFO drought is over.
"Balloon" outflys B-25 fighter-bomber.
(See BLUE BOOK report) (36.)

[PAGE BREAK]

56
THE OBJECT TRAVELLED FROM THE SOUTHEAST TO THE SOUTH 'SWEEPING UP,
DOWN, AND THEN UP AGAIN." (50.)
24 June. "What About Keyhoe?"
The CSI Newsletter front-paged a big article on Donald Keyhoe on June
24th expressing the opinion the saucer book author had been slighted in the
recently released movie U.F.O. The lack of any reference to Keyhoe in the
script was denounced as a 'most glaring omission." Besides Keyhoe's
many writing credits, especially the historic 1950 True magazine essay
"The Flying Saucers Are Real, CSI recognized the Major's many lectures
and media interviews, plus his on-going research. Keyhoe, CSI felt, was
a man with the courage of his convictions and not afraid to risk his pro-
fessional reputation.
Acknowledging that Keyhoe did have his faults (who doesn't), CSI pro-
laimed that no other individual had done so much to advance the study of
UFOs since 1947. (51.)
27 June. Plattsburg, New York.
A military teletype message states:
"A CIVILIAN VOLUNTEER AT THE PLATTSBURG GROUND OBSERVER POST
WAS LOOKING SOUTHEAST AT A MULTI--ENGINE AIRCRAFT WHEN, ROUND
YELLOW GLOWING MASS APPROACHED THE PLANE UNDER OBSERVATION. THE
YELLOW MASS APPEARED TO BE THE SAME SIZE AS THE MULTI-ENGINE
PLANE. THE UFO THEN MOVED AWAY TO THE EAST ON A DESCENDING
COURSE, FADING FROM VIEW AFTER TWO MINUTES." (52.)
27 June. North Dallas, Texas.
According to Air Force records two young men, ages 23 and 26, were
sweeping the night sky with a 30X telescope and a pair of binoculars.
The men were seeking the planet Saturn and during their scanning of the
heavens sighted a round body which was glowing an orange color. The
object was moving in a straight flight and at a constant altitude. The
thing seemed to give off a "pulsating exhaust" that seemed to "encircle
It gave the appearance of a "hollow center." The UFO
the object."
passed out of sight over the horizon in about 15 seconds. (53.)
27-29 June.
The UFO Research Council of Cleveland.
Sgt. Hill's trek to
Cleveland.
Sometime in May BLUE BOOK advisor Dr. J. Allen Hynek reminded Air Force
authorities that they had promised to re-contact the Cleveland UFO group
about some UFO reports the organization had submitted to ATIC. Th
group,
the UFO Research Council of Cleveland, had been granted a special caring
at BLUE BOOK headquarters a few months before, an unprecedented ev it.
This occurred, as it turns out, because the Cleveland group had ap aled
directly to President Eisenhower, whose office sent the paperwork
Presidential aide Sherman Adams, who in turn gave the job to Gener
The General asked ATIC to look
of the USAF Legislature Liaison.
Kelly
ito the

[PAGE BREAK]

FOOTNOTES
1. Letter: To: The Honorable Harry Flood Byrd, Chairman, Committee on Finance,
United States Senator. From: Joe W. Kelly, Major General USAF, Director,
Legislation Liaison. 1 May 56.
2. Denver, Colorado. Rocky Mountain News. 11 May 56.
3. Teletype message: To: WPAFB OHIO. From: COMDR 4602nd AISS ENT AFB, COLO.
4 May 56. Air Force BLUE BOOK Files.
4. May be located in BLUE BOOK files by the date: 4 May 56.
5. Ibid.
6. Ibid.
7. Ibid.
8. Ibid.
9. Spaulding, William H. "The UFO Papers.
#3. p.31.
11
UFO Report. August 1979. Vol.7,
10. Keyhoe, Donald. "The Captain Ruppelt Letters." The UFO Investigator.
Vol. II, No. 2. October 1961. p.6.
11. The UFO Investigator. Vol. I, No.8. June 1959. p.6.
12. All of the Oklahoma City documents may be located in Air Force BLUE BOOK
files by the date: 6 May 56.
13. Bloecher, Ted.
"The Silly Season For City Editors." CSI Newsletter. Issue
#3. 6 May 56. p.1.
14. Hutchinson, Kansas. News-Herald. 27 June 56.
15. Miller, Max B.
"Official Saucer Screened." Flying Saucer Review.
No.3. May-June 1956. p.8.
Vol.2,
16. Ibid.
17. Orbit. Vol.III, No.4. 6 July 56. p.3.
18. Ibid.
19. Stringfield, Leonard. Saucer Post 3-0 Blue. Cincinnati, Ohio: Civilian
Research Interplanetary Flying Objects (C.R.I.F.O.), 1957. p.36
20. Ibid.
21. Spot Intelligence Report. To: CO ATIC WP AFB OHIO. ATTN: ATIAA-2c. From:
18th District Office of Special Investigations, Cheli Air Force Station,
OSI Records. Air Force BLUE BOOK Files.
Box 310, Maywood, California.
Desert News and Telegram. 12 May 56.
22. Salt Lake City, Utah.
23. Flying Saucers. ed. Ray Palmer. Amherst, Wisc. June 1957. p.44.
24. Long Beach, California. Graphic. 26 July 56.
25. Flying Saucer Review. Vol. 3, No.1. January-February 1957. pp.7-8.
26. Salem, New Jersey. Sunbeam. 22 May 56.
27. Flying Saucers. ed. Ray Palmer. Amherst, Wisc. June 1956. p.50.
28. Hall, Richard ed. The UFO Evidence. Washington D.C. :National Investi-
gations Committee on Aerial Phenomena, 1964. p.12.
29. CSI Newsletter. Issue #4. 24 June 56. p.2.
30. Miller, Max B. Flying Saucers. Trend Book #145. Los Angeles, California.
1957. p.125.
31. CSI Newsletter. Issue #5. 21 September 56. p.1.
32. May be located in BLUE
33. Orbit. Vol. III, No.3.
34. Orbit. Vol. III, No.4.
BOOK files by the date: 1 June 56.
1 June 56. p.1.
6 July 56. p.3.
35. The UFO Investigator. Vol. I, No. 2. August-September 1957. p.14.
36. May be located in BLUE BOOK files by the date: 5 June 56.
57. May be located in BLUE BOOK files by the date: 6 June 56.

[PAGE BREAK]

for,
COLO.
Vol.7,
tor.
E BOOK
er.
Issue
Vol.2,
vilian
From:
ation,
Files.
8.
esti-
fornia.
38. May be located in Air Force BLUE BOOK files by the date: 11 June 56.
39. Flying Saucer Review. Vol. II, No.4. July-August 1956. p.24.
40. Orbit. Vol. III, No.5. 3 August 56. p.4.
41. May be located in the Air Force BLUE BOOK files by the date: 14 June 56.
42. Webb, Walter N. "Inside Building 263: A Visit To Blue Book, 1956.'
International UFO Reporter. Vol.17, No.5. p.5.
43. Ibid.
44. Ibid.
45. Trench, The Hon. Brinsley le Poer, ed. The Flying Saucer Review's World
Roundup of UFO Sightings and Events. New York, N.Y.: The Citadel Press,
1958. p.53.
46. Constance, Arthur.
Press, 1956. p.280.
The Inexplicable Sky. New York, N.Y.: The Citadel
47. CSI Newsletter. Issue #4. 24 June 56. p.4.
48. Homestead, Pennsylvania. Messenger. 22 June 56.
49. Teletype message. To: JED WP/CONDR AIR TECH INTELL CENTER WRIGHT PATTER-
SON AFB, OHIO. From: COMDR 788TH ACWRON WAVERLY IA. 25 June 56. Air
Force BLUE BOOK Files.
50. Teletype report: To: JED WP/COMDR ATIC WP AFB OHIO. From: COMDR 669TH
ACWRON MACDILL AFB FLA. 27 June 56. Air Force BLUE BOOK Files.
51. CSI Newsletter. Issue #4. 24 June 56.
52. Teletype message: To: JEDWP/ATIC WP AFB OHIO. From: CMDR 764TH ACWRON ST
Air Force BLUE BOOK Files.
ALBANS AFS VT. 27 June 56.
53. Teletype message: "To: COMDR ATIC WP AFB OHIO. From: COMDR 745TH ACWRON
28 June 56. Air Force BLUE BOOK Files.
DUNCANVILLE TEX.
54. Memorandum for Mr. (...deleted) Subject: "Briefing on UFO Research Council
and courses of Action." May be located in Air Force BLUE BOOK files by
the date: 29 August 55.
55. ATIC WP AFB Ohio. Project No. 10073. Travel Order No. 01140. Division
Air Science. M/Sgt. Oliver D. Hill investigator. 12 July 56. Air Force
BLUE BOOK Files.
56. May be located in Air Force BLUE BOOK files by the date: 27 June 56.
57. Hall, Richard, ed. The UFO Evidence. p.150.
58. Mahoney City, Pennsylvania. Mahoney City Record-American. 28-29 June 56.
Standard Sentinel. 29 June 56.
59. Hazelton, Pennsylvania.
60. Allentown, Pennsylvania. Morning Call. 29 June 56.
61. Beaumont, California.
Gazette. 5 July 56.
62. Groseclose, Capt. William.
Air Intelligence Information Report. 655
28 July 52. Air Force BLUE BOOK Files.
AC&W Squadron Watertown, New York."
Files.
63. Edwards, Frank. My First 10,000,000 Sponsors. New York, N.Y.: Ballantine
Books, 1956. p. 117.
64. Ibid.
65. Las Vegas, Nevada. Sun. 8 July 56.
66. Understanding. Vol.I, No.8-9.
August-September 1956. p.20.
67. Flying Saucer Review. Vol.II, No.3. May-June 1956. pp.4-5.
68. Flying Saucer Review. Vol. II, No.4. July-August 1956. p.5.
69. Orbit. Vol.III, No.5. 3 August 56. p.4.
70. Trench, The Hon. Brinsley le Poer.
The Flying Saucer Review's World
Roundup of UFO Sightings and Events. pp. 52-53.
71. Flying Saucers. Ray Palmer, ed. Amherst, Wisc. June 1957. p.44.

[PAGE BREAK]

THE FIFTH HORSEMAN OF THE APOCALYPSE
UFOS: A HISTORY
1956:
by
NOVEMBER-DECEMBER
Loren E. Gross
Copyright © 1994
Fremont, CA

[PAGE BREAK]

the subject of UFOs follow a very different course than ours. They
are responsible for the ridicule that has surrounded the subject of
UFOs since the beginning. My usual advice has been to ignore the
trouble makers and the games they play. But once in awhile they
create a situation that causes a major set back for serious, objec-
tive researchers.
This occurred in 1956. Those of us who realized what the results
We didn't have
were going to be, tried desperately to prevent it.
Art Linkletter [a famous T.V. host in the 1950s.| allowed
a chance.
sponsors of the Mon-Ka 'visit' to appear on his nationwide program
Several of us begged him for equal time on his pro-
more than once.
gram and he refused. At that time we were told that newspapers
across the U.S. featured the story --and we knew there were head-
lines in a newspaper in London, England.
"Well, of course the fiasco that exploded when Mon-ka did not show
up as promised, increased the ridicule tenfold. It set serious UFO
research back at least ten years." (9.)
Also: "Scientists, the news media and ordinary citizens who were beginning
to be interested dropped the subject quickly, lest they would be ridiculed.
(10.)
7 November.
The night of "Mon-ka" as described by the Saucerian Bulletin:
copy)
7 November.
Stringfield and the Baston photos.
(See photo-
It seems a Cincinnati
ATIC heard from Stringfield again in November.
photographer by the name of Harry Baston had taken some pictures of the moon
that also showed an odd, semi-ovoidal, sharply defined, shape in the sky.
Prints and negatives were passed on to Stringfield who immediately phoned
BLUE BOOK's Captain Gregory. Considering BLUE BOOK's aversion to cooperating
with the Cincinnati UFO buff perhaps it is surprising Gregory agreed to ex-
amine the photos, yet maybe not since the BLUE BOOK chief took the opportunity
to boast of the military's ability to analyze any photographic evidence, and
to denounce "rumors" that maintained that the Air Force retained UFO films
instead of returning them to their owners. (11.)
In fact the Air Force was at that time under fire on the West Coast for
alleredly not returning a UFO negative to a San Bernardino, California, man.
Air Force records at this time mention a fear of "adverse publicity," and
in another official letter, the writer of the "Aviation Week" column in a
Los Angeles newspaper is identified and the reason for caution explained:
"...it is requested that positive action be taken to bring to
the attention of Mr. Tom Towers, that the negative, and prints
therefrom, were processed, analyzed, and the results made known
For your information, it should be
to source, Mr. (...deleted).
pointed out that Mr. Towers was the individual cast in the leading
role of the controversial documentary film produced by Green Rouse
The implications in not informing Mr. Towers are
Studios 'UFO.'
therefore obvious." (12.)

[PAGE BREAK]

The UFO Encyclopedia hv M.
FOOTNOTES
1. Jessup, M.K. "A Report On Washington D.C.'s NICAP." Saucer News.
Vol.4, #2. Whole #22. Fort Leee, N.J. ed.: James Moseley. February-
March 1957. p.5.
2. Fawcett, Lawrence and Greenwood, Barry J. Clear Intent.
New Jersey: Prentice-Hall, 1984. pp. 206-207.
Englewood Cliffs,
3. Fowler, Raymond. Casebook of a UFO Investigator. Englewood, New Jersey,
Prentice-Hall, 1981. pp. 58-59.
4. Zechel, Todd. "NI-CIA-AP or NICAP." Just Cause.
January 1979. pp.5-8.
5. Air Intelligence Information Report, by Capt. William M. Lyons. HQ, Air
Proving Ground Command, Eglin AFB, Florida.
BLUE BOOK Files.
6. Orbit, Vol. III, No.8. November 2, 1956.
7. Rand Daily Mail. 6 November 5b.
8. Miami, Florida. Herald. 13 December 56.
9. Letter: To: Tom (Gates?).
19 December 56. Air Force
From: Idabel Epperson, Los Angeles, California.
2 June 78. Copy in author's files.
10. St. Paul, Minnesota. Dispatch. 14 November 56.
11. Letter: To: Capt. G.T. Gregory, ATIC Wright-Patterson AFB, Dayton, Ohio.
From: Leonard Stringfield, C.R.I.F.O., 7017 Britton Ave.
Ohio. 7 November 57.
Cincinnati 27,
12. May be located in Air Force BLUE BOOK Files by the date: 7 November 56.
France-Soir. 26 November 56.
13. Paris, France.
14. Garden Grove, Californis.
News.
12 November 56.
15. Miami, Florida. Hearld. 13 December 56.
16. Ortonville, Minnesota. Independent. 12 November 56.
17. Redfield, South Dakota. Press. 22 November 56.
18. Ibid.
19. Flying Saucer Review.
20. Thid.
21. Ibid.
Vol. III, No.1. January-February 1957. p.3.
22. May be located in Air Force BLUE BOOK files by the date: 9 November 56.
23. The Saucerian Bulletin. Vol.II, No.1. January 15, 1957. p.1.
24. Air Intelligence Information Report, by 1st Lt. Louis Sauter. Flight 1-C,
14 November 56. p.2. Air Force BLUE BOOK files.
4602nd AISS.
25. Ibid, Sgt. William E. Word. p.3.
26. Ibid, M/Sgt. Philip Karnowski. p.5.
27. Ibid, p.2.
28. Tacoma, Washington. Tacoma Times. 7 July 47. p.1.
29. Palmdale, California. South Antelope Press. 10 July 47. p.1.
30. Air Intelligence Information Report, by 1st Lt. Louis Sauter. 14 November
56. p.5.
3.1. Ibid.
32. Ibid.
33. Ibid, p. 2.
34. Ibid, Sgt. Edwin D. McCurdy. p.14.
35. Ibid, Sgt. William E. Word. p.3.
30. Letter: To: John DuBarry, President, CSI, New York. From: Capt. Joe Hull.
5 June 57.
37. Letter: To: J. Allen Hynek, Smithsonian Institution, Astrophysical
Observatory, 60 Garden Street, Cambridge, 38 Massachussetts. From: Capt.
[AD] Box 9703 1125th PAG (ATIC) Wright-Patterson AFB, Ohio. 14
Greogory,
November 56. May be located in Air Force BLUE BOOK files by the date: 14
November 56.

[PAGE BREAK]

Chariots of the Gods?,
I was the handiwork of
lassic Pictures)
en's theory that many
s a result of advanced
xtraterrestrial visitors.
camples from countries
ch archaeological odd-
AND, the PYRAMIDS and
resemble modern-day
is utilized in the 1973
CH OF ANCIENT ASTRO-
d ninth century Frank-
cribed to a belief in the
called MAGONIA. The
the tyrants of the air,
espread fear that these
kidnapped humans led
at not only forbade the
rovoking of storms, but
rants of the air. Repor-
had been carried off in
of marvels. When these
th, many of them were
Four people in LYONS,
ght from an aerial ship,
The UFO Encyclopedia by Margaret Sachs
were saved by Archbishop Agobard from an angry mob
intent on lynching them.
Bibliography: Vallee, Jacques, Passport to Magonia
(Chicago: Henry Regnery Company, 1969).
CHILES, CLARENCE S., see MONTGOMERY,
ALABAMA
CHINA. Although the Chinese government does not
admit the existence of UFOs and there are no written
records of sightings, travelers to China claim to have
heard verbal reports of strange objects in the skies. The
Chinese terms for UFO and flying saucer are "bu min
fei ching ou" and "fay dea," respectively.
CHINESE DISKS, granite disks reportedly found in
1938 by Chinese archaeologist Chi Pu Tei in caves in
the Payenk Ara Ulaa Mountains near Tibet. Each disk
was two-and-one-half feet in diameter and almost an
inch thick. Strange symbols were engraved in grooves
spiraling out from a central hole to the outer rim. A total
of 716 disks was found. They had a high cobalt content
and it has been speculated that they were designed to
store a vast amount of information by some means
similar to magnetic recording. In 1962, Professor Tsum
Um Nui of the Peking Academy of Prehistoric Research
supposedly succeeded in reconstructing the story be-
hind the disks from partial deciphering of their symbols
and from legends originating in the mountainous re-
gions where they were found. He claimed that about
12,000 years ago, a group of strange beings landed in
their craft in the area but were soon killed by the local
people because of their extreme ugliness. Skeletal
remains of small, slender humanoids with large cra-
niums and resilient bones, found in the same caves, are
presumed to be the murdered pilots of the alien craft.
Further evidence of the possible extraterrestrial origin
of the corpses was found on the cave walls where
pictures showed the sun, moon and stars linked by tiny
dots.
The whereabouts of the stone disks today is unknown
to western UFOLOGISTS. One rumor claimed they had
been transported to Moscow for analysis. However,
because of the combined weight of the objects, if they
exist, it seems probable that most of them are still in the
caves where they were originally found.
Bibliography: Stoneley, Jack, with A.T. Lawton, Is
Anyone Out There? (New York: Warner Paperback
Library, 1974).
CHOP, ALBERT M. (b. January 4, 1916, Calumet,
Michigan; address: 73769 Haystack Road, Palm Desert,
California 92260), former Press Chief for the UNITED
STATES AIR FORCE (USAF), and former Information
Perigee Books/G.P. Putnam's 1980
CHILES/CHOP 61
Officer for the NATIONAL AERONAUTICS AND SPACE
ADMINISTRATION (NASA).
As official Air Force spokesman for the UFO project,
Chop participated in the radar observations of the
celebrated WASHINGTON, D.C., sightings of 1952. He
has concluded that UFOs do not originate on Earth and
believes that the CONDON REPORT was a deliberate
attempt to silence the public, an action he considers
poor public relations.
On January 1, 1979, Chop, his wife and their daugh-
ter observed a triangular UFO moving slowly eastward
over the mountains southeast of Palm Desert, Califor-
nia. The object was about ten times as brilliant as the
stars in the background. It appeared to be extremely
large but Chop was unable to determine its size since
height and distance were not known. The UFO was in
sight from approximately 5.00 A.M. until 5:45 A. M., at
which time it had become a small, distant light in the
eastern sky.
Chop attended the University of Dayton for two
years. He was a journalist for the Associated Press and
the Dayton Daily News from 1937 to 1943. From 1943
to 1944, he worked in public relations for Acme Alumi-
num Alloys. He was a U.S. Marine Corps combat
correspondent from 1944 to 1946. From 1946 to 1950,
he was an advertising copywriter for Fuller and Smith
and Ross, Incorporated. In 1952, he became U.S. Air
Force civilian Press Chief at the Air Materiel Command
in Dayton, Ohio. In 1952, he was transferred to the
Department of Defense in Washington, D.C., where he
worked as a member of the Air Force Press Desk until
1953. From 1953 to 1962, Chop was a Public Relations-
Albert Chop at the Mission Control Center in Houston, Texas.
(Courtesy NASA)
* Representative for the Douglas Aircraft Company. He then became Deputy of Public
Affairs at NASA from 1962 until 1975. He was Manager of the Atomic Energy Commission's
Employee Incentive Program from 1975 until he retired in 1976.
Chop was the recipient of four awards for outstanding performance from the U.S.
Government.
Chop wrote background material fro the 1956 semi-documentary motion picture
UNIDENTIFIED FLYING OBJECTS (U.F.0.) which featured Los Angeles journalist Tom Towers
(cont'd---

[PAGE BREAK]

Chop, contd.
in the starring role as Chop. His report on the Washington D.C. UFO sightings was
published in "Celestial Passengers -- UFOs and Space Travel" (New York; Penguin Books,
1977) by Margaret Sachs with Ernest Jahn.
Sorry, Gary, I don't have a copy of Celestial Passengers in my library. Perhaps you
can get it through interlibrary loan...some small town in CT might still have a copy.
You should also be able to find David Jacobs ufo history "The UFO Controversy in America"
(ndiana University Press; 1975) in better libraries. Check pages 144-45 for some more
material on the film and how the USAF was worried about it's impact.

[PAGE BREAK]

118
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This is one of my reasons for detesting
abortion Eleanor Higgins, Fond du Lac,
Wis.
ONLY ONE SIDE?
I am upset by the letters you receive im-
plying there is only one side to a religious
question their side. In the August 1977
FATE, "tasteless, muckraking article on the
Book of Mormon" and "attacking the Book
of Mormon with impunity" are the words
of Mr. Atkins. "When you publish articles
attempting to discredit certain religions I
feel you no longer should be trusted," de-
clares Mrs. Felix. "Unjustified and useless
attack" is Mr. Vesely's characterization.
Every proposition has its opposite and
both sides deserve a hearing. It happens
that free speech about any question and
fair play for all are the American way and
the intelligent way. If one is willing to ig-
nore insights that the opposition can give
him he is opinionated and partially blind.
Mrs. Felix's logic is questionable. She
says, "You label as untrue some happen-
ings that have avowed witnesses and yet
you print as truth events seen and heard by
only one person." To print a writer's view
is not to "label," unless a magazine under-
takes to support every view it publishes. As
for witnesses, often a single one is most to
be trusted, for at least we know he is not a
victim of mass hypnosis that is, an en-
couraged-by-the-mob wishful delusion.
If these critics can show how all religions,
all scientific concepts and all economic the-
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persuade the government to suppress all
carping, theirs as well as that of persons
who disbelieve the Book of Mormon
Harry E. Mongold, Manhattan, III.
THE SEARCHERS...
This is an SOS. I want to find a direct in-
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REPORT FROM THE READERS
If any FATE reader is interested in help-
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Kotoka, International Airport, Box 9835,
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For more than 10 years I have been at-
tempting to compile a detailed research file
on the excellent 1956 documentary motion
picture "U.FO" released through United
Artists. Because of the age of the movie I
believe it is important to centralize data re-
garding its background now while it is still
available "UFO." is of great historical sig-
nificance and it included many rare as-
pects
Not the least of these, of course, is that
the late Capt. Edward J. Ruppelt, onetime
chief of Project Blue Book, played himself
in the film Also, this primarily black-and-
white drama included the famous Utah
and Montana UFO movies in their original
color to insure accuracy.
I would like to hear from any FATE read-
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Library, and esoteric organizations in the
PROBLEMS!
119
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Val 30 #12
ISSUE 333
APSPULGADDADE

[PAGE BREAK]

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FAMILY MOVIE GUIDE
(Continued from page 18)
TORM OVER THE NILE (July) Anthony Steel
plays a reluctant Army omcer branded a cow-
ard by his friends and sweetheart who per-
forms prodigious feats to prove his courage.
CinemaScope, color. A & Y&C-Excellent
STRANGER AT MY DOOR (June) The conversion of
hardened young criminal by a fearless
preacher gives this a valid religious theme
though events are not always credible. A & Y
Good of kind. C-Mature.
SWAN, THE (May) With lovely decorum Grace
Kelly makes the sedate princess of Molnar's
drama a symbol of living by duty and tradi-
don. Alec Guinness plays expertly the role of a
bored prince, and Louis Jourdan is sympathetic
as the luckless tutor. CinemaScope, color. A &
Y & C-Excellent. Special Merit.
THAT CERTAIN FEELING-Bob Hope turns out to
be a charmer as a luckless cartoonist who has
more talent than nerve. When his divorced
wife (Eva Marie Saint) gets him a job doing a
cartoon strip for a wealthy and famous artist
(who will take all the credit for Bob's work)
he hasn't the courage to stand up to his pomp-
ous boss (George Sanders). This is partly be-
cause Miss Saint is planning to marry Mr.
Sanders and this doesn't set well with Bob. An-
other irritant is Sanders high-handed ways
with the small boy he is planning to adopt,
more as a publicity stunt than from any pater-
nal urge. Bob and the boy become friends and
together play hob with the inflated egotist's
plans. It's very funny from start to finish. A-
Excellent. Y& C-Sophisticated but enjoyable.
TIMETABLE (May) The "perfect
Vista Vision, color. (Para.) crime" is again
proved a fallacy in this rather harrowing tale,
Mark Stevens. A-Good of kind. Y & C-No.
TOUCH AND GO (May) British comedy about dis-
couraged father (Jack Hawkins) who tries to
move his family to Australia and finds unex-
pectedly hardy roots in London. Color. A & Y-
Good. C-Sophisticated.
TOY TIGER (June) Tim Horey plays a lonesome
Ittle boy at boarding school who invents an
explorer father and shanghals Jeff Chandler to
play the role when his schoolmates call his
bluff. Technicolor. A & Y & C-Very good,
TRAPEZE The color and hurlyburly. of back-
stage circus life in Paris (a bit more on the
tawdry side than the spanking new props an
American circus boasts yearly) give a con-
of
of rivalry: In love va, dedication to this story
ying through the air with the greatest of ease.
Tony Curtis plays Tino Orsini, an American
aerialist who travels to Paris to learn how to
do the triple somersault in the air from Mike
Ribble (Burt Lancaster), the only man who has
accomplished it. Ribble is crippled from a fall
during the triple and has become a shiftless cir-
cus handyman. Orsini after many rebuffs per-
suades Ribble not only to take him on as a
pupil but to become his catcher. Pride in Or-
sini's progress and
Ribble until Lola (Gina new act dominates
Lollobrigida), a medi-
ocre but beauteous performer, tries to get into
their act by encouraging both men to fall in
love with her. CinemaScope, color A-Good.
Y-Mature but enjoyable. C-No. (N.A.)
TRIBUTE TO A BADMAN (May) James Cagney
brings an outsized hero to life in this Western
drama of character conflict. CinemaScope,
color. A & Y-Very good. C-No.
PACES TO BAKER STREET-Perhaps the sleuth-
Ing in this mystery falls more than 23 paces
short of that done by the renowned Sherlock
Holmes of Baker Street. But the atmosphere of
London, where the film was made, is as good as
any of Conan Doyle's fog-filled backgrounds
and the acting is very satisfactory. Van John-
son plays an American playwright, lost in self-
ity because of his recent blindness. He makes
a fetish of going about alone and while having
Asolo drink in a neighborhood pub overhears
Part of a kidnapping plot. His use of senses
ether than sight gives a fillip to solving the
mystery. CinemaScope, color. A & Y-Good. C
I used to mystery films. (20th C.-Fox)
IDENTIFIED FLYING OBJECTS Building its
framework around a member of the Air Force
Public Information Office this film sets out to
rove the existence of "nying saucers.". It is an
objective view of the Air Force's painstaking
of the hundreds of reports of un-
flying objects. Included are docu-
mented evidence and interviews as well as two
Air Force films of the objects. A & Y-Interest-
Mention
g. C-Mature. (U.A.) tale of b
RANIUM BOOM (Apr.) A sordid tale of two
Prospectors who pool their knowledge of min-
erals and terrain, strike it rich, and then fall
cut over a woman. A-Poor. Y & C-No.
WAY OUT, THE (June) Inept British drama about
an unpremeditated murder and the killer's
(Gene Nelson) attempts to flee the country
ithout a passport. A & Y-Medlocre. C-No.
HILE THE CITY SLEEPS (Apr.) Struggle of three
Company bigwigs to become top man of a com-
unications empire when the chief dies. Dana
Andrews. A-Good of kind. Y & C-No.
ORLD IN MY CORNER (Mar.) Audie Murphy
convincing in routine tale of young boxer
who is tempted to throw a night. A & Y-Good
Aght scenes, fair story. C-O.K. if used to fights.
ZABUKU (June) Lewis Cotlow's third African
Expedition shows scenes of beautiful country,
Evened by contests between wild animals and
Charmed men, for the Corlow hunters do not
tarry guns. Color. A & Y & C-Very good.
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washable. Blouse: 3-6x, $2.98; 7-14,
[AD] $3.29. Jacket: 3-6x and 7-14, $3.98.
Skirt: 3-6x, $4.98; 7-14, $5.98. At better
stores everywhere. (Prices approximate.)
CONSUMING
SERVICE BUREA
Kordell ADD-UPS
PARENTS' Add-ups KORDELL
ALAGAZINE
Kordell Sportswear, Inc., 1350 B'way, N. Y. C.

[PAGE BREAK]

paranet
Parents Magaric
August 1956
Val XXXI No. 8

[PAGE BREAK]

Val-41. #4
Issue 457
April 1988
by Jerome Clarks
UFO CRASHES (Part (V)
86
evidence that UFOs were Russian,
American or imaginary. That left
open a disturbing possibility: that
they came from somewhere other
than the earth. A July 24 sighting, in
which two Eastern Air Lines pilots
flying over Alabama reported a
near-collision with a huge cigar-
shaped object with two rows of
lighted windows and an orange
flame shooting from its rear,
clinched Sign's growing belief that
the planet was being visited.
FATE
December 27, 1949, it declared that
"all evidence and analysis indicated
that UFOs were the result of misin-
terpretation of various convention-
al objects," hoaxes, hysteria or
mental illness.
The air force announced that it
was closing Grudge. In fact, Grudge
was not closed, only (in historian
David M. Jacobs' words) "in a state
of suspended animation." By the
summer of 1951 its personnel at Air
Materiel Command headquarters
consisted of one lieutenant. One of
Grudge's projects, Twinkle (dealing
with reports of unexplained "green
fireballs" in the Southwest), con-
tinued but was classified.*
They prepared a top-secret "Es-
timate of the Situation" which
argued that flying saucers were real
and interplanetary. Their report
was delivered through channels to
Forte Chief of Staff Gen Hoyt In September 1951, following
S. Vandenberg, who rejected it and
spectacular radar-visual sightings
sent it back. A few months later all
of structured metallic discs over
known copies were burned. None
Fort Monmouth, New Jersey, the
has surfaced since.
air force decided to reorganize
Grudge under the direction of Capt.
Ed Ruppelt of the Air Technical
Intelligence Center (ATIC), former-
ly the Intelligence Division of the
Air Materiel Command. Deter-
mined to conduct an open-minded
inquiry, which he knew Grudge had
not done, he removed hard-core
let it be
anti-UFO elements
and let
known that his investigators were to
be advocates of no UFO theory, pro
Soon the pro-extraterrestrial
group at Sign fell into disfavor and
others, who believed IFOs to be
explainable in conventional terms,
assumed control of the project,
which in late 1948 was renamed
Grudge, Initiating what Capt. Ed-
ward J. Ruppelt would call the
"Dark Ages.
Gruge personnel were deter-
mined to destroy the flung-saucer
phenomenon at any est. They
conducted only pertuneory inves
tigations and produced forced or
unlikely conventional explana-
tions of sightings, Whet Grudge
released its final report publicly on
or con.
*For details on this aspect of UFO history, see
David Michael Jacobs' The UFO Controversy in
America (1975), Edward J. Ruppelt's The Report
Con Unidentified Flying Objects (1956), and Brad
Sparks and my "The Southwestern Lights,"
International UFO Reporter, May-June, July-
August and September-October 1985.
UFO CRASHES
Ruppelt reorganized the project,
now called Blue Book, brought in
trained personnel and saw to it that
reports were investigated in a pro-
fessional manner. The persistence
of puzzling, well-documented sight-
ings gave rise again to speculation
within the project that UFOs were
of extraterrestrial origin. In 1956,
when he wrote his memoirs of his
Blue Book experiences (The Report
on Unidentified Flying Objects), he
treated the subject with admirable
balance, but no one who read it
could doubt that he considered ex-
traterrestrial visitation distinctly
possible.*
An outbreak of sightings over
Washington, D.C., in July 1952
caused so much alarm that the
White House directed that a scien-
tific advisory panel consider the
UFO question. The CIA was put in
charge of the project and in early
January 1953 the panel, whose
membership consisted of prominent
scientists under the direction of
physicist H. P. Robertson, met for
three days, between the 14th and the
17th. It listened to briefings from
Blue Book and other military inves-
tigators, looked over some of the
reports and decided there was noth-
ing to them. As one panel member,
astrophysicist Thornton Page,
would recall, the group "tended to
In 1960, however, his book was reprinted with
three new chapters which died UFOs as a
"Space Age myth." Rappelt, then an engineer
working for Northrop, died that same year.
87
ignore the five or 10 percent of UFO
reports that are highly reliable and
have not as yet been explained." At
the time, Page recalls, he felt the
subject was "ludicrous" (an opinion
shared by other members of the
panel; S. A. Goudsmit, for example,
considered UFOs a "complete waste
of time"), although in later years
Page would develop a serious inter-
est in the UFO phenomenon.
The Robertson panel urged that
UFO reports be debunked to pre-
vent hysteria and clogging of intel-
ligence channels with UFO reports.
An educational program would re-
duce "the current gullibility of the
public and consequently their [sic]
susceptibility to clever hostile prop
aganda" - that is, Soviet use of
such reports for disinformation
purposes.
Following the panel's recom-
mendations, Blue Book, no longer
under Ruppelt's direction, reverted
to the Grudge practice of debunk-
ing after perfunctory investigation
and continued this policy until it
was closed down on December 17,
1969. To the American public it
looked as if the U.S. government
was out of the UFO business for-
ever.
* * *
FONE follows the public history
1of the official projects, a clear
picture emerges of an air force
strangely unconcerned (except for
brief periods, specifically the Sign
and early Blue Book eras) with

[PAGE BREAK]

The Emergence of a Phenomenon: UFOs from the Beginning
from The UFO Encyclopedia, Vol 2
through 1959 by Jerome Clark (Omnigraphics, Inc., Detroit MI, 1992)
Unidentified Flying Objects
alternately hovered and turned before speeding off
over the horizon. The next morning Greene told his
business partner, Russell Rouse, about the sighting.
As he reflected on his experience, he grew ever more
irritated by the ridicule attached to UFO sightings. In
fact, he thought there might be a "planned campaign
of skepticism and scoffing" (Greene, n.d.).
When he learned that Albert M. Chop, formerly the
Pentagon's press officer for UFO-related inquiries,
lived on the West Coast, he contacted him and pressed
him for information. Chop was at first reluctant to
speak with Greene but soon was persuaded that his
interest was serious. Over the course of several meet-
ings Chop filled him in on the Air Force's investiga-
tion and later introduced him to one-time Project
Blue Book head Edward J. Ruppelt, now living in
southern California.
When Greene asked Chop and Ruppelt about two
rumored UFO films in Air Force possession, they
reluctantly acknowledged that such existed; in fact,
they had viewed them personally. Soon Greene ap-
proached the photographers, Delbert C. Newhouse,
who had filmed UFOs over Trementon, Utah, in 1952
(see Utah Film), and Nicholas Mariana, whose footage
of two daylight discs was taken in Great Falls, Mon-
tana, in 1950 (see Montana Film). Scientists and
experts who studied the films for Greene assured him
that the depicted objects were not birds, balloons, or
planes. Subsequently, through Ruppelt, Greene met
Wendell V. Swanson, whom Ruppelt identified as the
leading authority on radar trackings of UFOs, and
Maj. Dewey Fournet, former liaison officer between
the Pentagon and Blue Book.
In May 1954 Greene-Rouse Productions began work
on a docudrama, with Winston Jones directing. The
main character was Chop, played by Los Angeles Exam-
iner reporter and aviation journalist Tom Towers.
The plot, such as it was, traced Chop's career from
skeptical Public Information Office representative
(serving at Wright-Patterson's Air Materiel Com-
mand desk in 1950) to Pentagon UFO press spokes-
man who comes to understand the seriousness of the
phenomenon. The story climaxes with the Washing-
ton-National radar/visual sightings. The movie,
made for less than $200,000, featured only one pro-
fessional actor, Harry Morgan (later to star on such
The Emergence of a Phenomenon
popular television shows as Dragnet and M.A.S.H.),
and then only his voice, as a pilot communicating
with radar operators as he attempts to intercept the
Washington UFOs. UFO witnesses such as Newhouse,
Mariana, and airline pilot Willis Sperry played them-
selves, and Los Angeles policemen stood in for Air
Force officers Ruppelt, Fournet, Gen. William M.
Garland, and others.
Seeking a sober, realistic treatment of the subject,
Greene, who produced Unidentified Flying Objects,
had Chop, Fournet, and Ruppelt vet Francis Martin's
script to ensure accuracy. Aside from its honest
accounting, the movie's principal claim to attention
was its showing, for the first time in public, of the
recently declassified Utah and Montana films (Pryor,
1956).
Despite its minuscule budget and many favorable
reviews (Carmody, 1956; P.V.B., 1956; Weiler, 1956)
the movie lost money, possibly because it was too
accurate to be interesting to the jaded movie-going
public. It was not especially popular even among
UFO buffs; the next year the National Investigations
Committee on Aerial Phenomena (NICAP) noted
that "it appears [fewer] than half of NICAP's mem-
bers saw this moving picture" ("Air Defense Com-
mand," 1957). And even critics who liked the film
complained about certain amateurish qualities, for
example pacing problems and repetition (Gardner,
1956), which may have put off viewers or would-be
viewers. Years later Towers remarked, "I felt the film
was too damn factual. It attracted two kinds of peo-
ple: those who believed and those who did not. The
broad middle mass could not have cared less-and
you need that market to make a film successful at the
box office" (Barrow, 1977).
Unidentified Flying Objects' least enthusiastic viewers
were from Project Blue Book, which in mid-1956 was
directed by the fiercely anti-UFO Capt. George T.
Gregory. Gregory feared-groundlessly, as it turned
out-that the movie would cause a new wave of
criticism of Air Force UFO policies. A. Francis Arcier
of the Air Technical Intelligence Center (ATIC) talked
with Air Force officials about drawing up a list of
official explanations for all the cases cited in the film.
Soon ATIC produced a form letter which assured all
inquirers that the Air Force had the UFO situation
UNIDENTIFIED FLYING OBJECTS -- One of the best popular films on UFOs had its genesis one
August night in 1952, when producer Clarence Green and a friend saw "a sphere of light"
in the sky over Los Angeles. Visible for³ive minutes, the object (contd at top of page)-
386

[PAGE BREAK]

The Emergence of a Phenomenon
well in hand and that it had solved all important cases
(Jacobs, 1975). When the 4674th Ground Observer
Squadron in Miami sought permission to use a GOC
display at a showing of the movie, the Air Defense
Command immediately squelched the proposal, writ-
ing that such a display "would involve the risk that Air
Force could be considered as endorsing subject mat-
ter and authenticity of the filmed version of flying
saucers" ("Air Defense Command," op. cit.).
Sources:
"Air Defense Command Forbids GOC Link with
Film." The U.F.O. Investigator 1,2 (August/Sep-
tember 1957): 14-15.
Barrow, Robert. "UFO' Revisited." Official UFO 2,1
(February 1977): 26-28,52-57.
***Unidentified Flying Objects': A Most
Remarkable UFO Documentary Film." Argosy UFO
[AD] (Winter 1977-1978): 10-13.
Carmody, Jay. "Saucers Fly Again." Washington Eve-
ning Star (May 31, 1956).
Gardner, R. II. "Outer Space Moves in.' Baltimore
Sun (June 22, 1956).
Greene, Clarence. Why I Made "Unidentified Flying
Objects." Hollywood, CA: Greene-Rouse Produc
tions, n.d.
Jacobs, David Michael. The UFO Controversy in Ameri-
ca. Bloomington, IN: Indiana University Press,
1975.
Miller, Max B., and Ted Bloecher. "World's First
Documentary Movie on Flying Saucers." Flying
Saucers 25 (June 1957): 58-64.
Nathanson, Mort. "Unidentified Flying Objects"-Syn-
opsis. New York: United Artists Corp., n.d.
Pryor, Thomas M. Flying Saucers' Depicted in Film."
New York Times (April 24, 1956).
P.V.B. "On the Screen: 'Unidentified Flying Ob-
jects'." New York Herald Tribune (June 13, 1956).
Weiler, A. II. "Screen: 'Saucer Story'." New York
Times (June 13, 1956).
UTAH FILM
As he drove on a highway seven miles north of
Trementon, Utah, at 11:10 AM. on July 2, 1952, Delbert
C. Newhouse, a U.S. Navy chief petty officer and
experienced aerial photographer, heard his wife call
his attention to something strange in the sky. One
Utah Film
glance was sufficient to get him to pull the car to the
side of the road.
Stepping outside, he watched 12 to 14 objects at what
he estimated to be 10,000 feet. Looking like "two pie
pans, one inverted on top of the other," they were
clustered in a loose formation, "milling around"
(Ruppelt, 1956). Newhouse took 1200 frames of film
(75 seconds' worth) through the telephoto lens of his
16-mm movie camera, though by the time he had it
unpacked, the objects had receded even farther until
they now were little more than shiny points of light.
At one point a single object left the pack, heading
east, and he held the camera still so that the UFO
crossed the field of view. He repeated this procedure
three or four times. After the last of these passes, the
object disappeared in the east while the rest were lost
to view over the western horizon.
Analyses. The film was sent soon after to Project Blue
Book, the Air Force's UFO-investigation agency,
headquartered at Wright-Patterson Air Force Base,
Dayton, Ohio. Blue Book's head, Capt. Edward J.
Ruppelt, quickly informed Maj. Dewey Fournet, who
served as Pentagon liaison officer for the project, of
the film. Fournet arranged for the original to be
shown to a group of high-ranking intelligence offi-
cers. Then it went to the Air Force's Photo-Recon-
naissance Laboratory at Wright-Patterson.
A few weeks later the laboratory reported, according
to Ruppelt, "We don't know what [the objects in the
film] are but they aren't airplanes or balloons, and we
don't think they are birds" (ibid.). A subsequent
frame-by-frame analysis conducted at the U.S. Navy's
Photo Interpretation Laboratory in Anacostia, Mary-
land, came to the conclusion that changes in the
lights' intensity, among other things, eliminated the
possibility that the images were aircraft or birds. To
analysts Harry Woo and Lt. Robert S. Neasham, that
left only one remaining option: that they were intelli-
gently controlled vehicles of some kind. The implica-
tion, of course, was that these were extraterrestrial
spacecraft.
But when they were shown the film on January 14,
1953, a group of scientists whom the Central Intelli-
gence Agency had assembled to review the Air Force's
UFO evidence (see Robertson Panel) felt otherwise.
In their opinion the objects were seagulls known to
If you can get the Clark book from the library you'll find some other references to Chop
in it that I didn't copy but which might be interesting. For example:
387
Chop was
on NICAP'SBoard of Directors tho I don't know for how long...my copies of their newsletter
are still packed and I don't know which box they are in...
Rad
duce
rab
Albert
erso

[PAGE BREAK]

Argosy - Winter 1977-78
"UNIDENTIFIED
FLYING OBJECTS":
A Most
PROJECT BLUEBOOK
ELECTRONICS GROUP
CAPT. J. L. ANDREWS
CAPT. EJ RUPPELT
WRIGHT PATTERSON FIELD
MAJ. DEWEY J. FOURNET
LIASON OFFICER
PENTAGON
Remarkable
UFO
Documentary
Film
BY ROBERT BARROW
Most science fiction movies
which have dealt with the UFO
topic have done so in anything
but a sober fashion. But, if you
happen to watch the late-late
show on TV, you might be lucky
enough to catch the pioneer of
serious UFO documentaries—a
film entitled, appropriately
enough, "Unidentified Flying
Objects." You'll be in for a real
treat.
RADAR SECTION
CAPT. W. DAKINS
ANALYSIS GROUP
CAPT. L.E. FIELD
CIVILIAN SCIENTISTS
CLASSIFIED
INVESTIGATION GROUP
CAPT. R.A. LEE
E
Cla
pla
scr
Chop (Tom Towers), is given a tour of a military radar facility
by radar expert Wendell Swanson.
Radi
duce
prob
very few weeks, somewhere
in the United States or
overseas, a TV station airs
an old 1956 motion picture
on its late-late show or afternoon
movie feature. TV Guide lists its
title as "U. F. O.," though the
more wordy program logs might
print the elaborate title of the
United Artists release,
"Unidentified Flying Objects."
Filmed primarily in black and
white (except for two short,
authentic UFO movies, shown in
their original color), this Clarence
Green-Russell Rouse production
enjoyed only less than moderate
success during its initial release to
10
Nicholas Mariana, whose film of two UFOS over Montana remains one of
the most controversial and respected, portrays himself (left).
Albert
perso

[PAGE BREAK]

of
Clarence Greene (Producer) and Wendell Swanson, a radar expert who
played his own rule in "UFO," are shown discussing the motion picture
script.
Radar expert Wendell Swanson, seated, talks about his field with pro
ducer Clarence Greene and the Late Capt. Edward J. Ruppelt, who was
probably the best known former chief of Project Bluebook.
international movie houses 21
years ago.
However, a recent research
session on the film's background,
which led me to contact people in
17 cities among 12 states,
convinced me that "U. F. O." is
truly a documentary, dealing fairly
and, for the most part, accurately
with the UFO subject as it was
, treated by the U.S. Government
during the late 1940's and early
fifties.
And "U.F.O." is a remarkable
piece of work for its time. Whereas
the other major studios have only
recently considered the UFO
theme for serious motion picture
productions, the 1956 United
Artists documentary was a
far-sighted film. Most of the
science-fiction movies which
inundated the fifties, you may
recall, dealt with the UFO topic in
anything but a sober manner!
What was "U.F.O." about? On
the surface, it seemed to make a
good case for the existence of
UFOs. In a deeper sense, the
movie explores a very important
historical aspect of the official U.S.
investigation of the aerial
phenomenon.
Unfortunately, United Artists'
U.S.A. pressbook did not describe
the film's storyline in detail, but a
rare copy of the London, England
"U.F.O." pressbook that I
stumbled upon does. Following,
then, is United Artists' English
synopsis of the motion
picture which I have paraphrased
and added to in some spots in order
to include other related material
about this true motion picture
account.
This writer, who openly
confesses his respect for
"U.F.O.," urges that the reader be
on the lookout for the movie. I
hope, too, that you enjoy viewing a
few of the rare promotional photos
herein that accompanied the film
during its theater days.
Albert M. Chop (played by Tom Towers), right, gives Information to a
personnel clerk at the Pentagon prior to undertaking his UFO duties.
SYNOPSIS*
*(1956 Press release by United
Artists Corp., notes in italics added
by Robert Barrow)
11

[PAGE BREAK]

When Albert M. Chop (played by
Tom Towers, a veteran newsman)
reported to work on the Public
Information Office desk of Air
Materiel Command at Wright
Patterson Air Base early in 1950, he
airily dismissed press queries about
Unidentified Flying Objects with,
"This whole saucer business is
pure, unadulterated bunk." He
believed this despite all reports of
sightings and the death of Captain
Mantell, in 1948, while chasing a
flying saucer.
Promoted to Chief of the Press
Section at A.M.C., he soon began
to have doubts. Startled to find that
a famous scientist, Dr. Reiskaywitz,
had an open mind on flying
saucers, it was unsettling for Chop
to learn from the Public
Information Officer that Project
Sign had not been closed down but
merely renamed Project Grudge.
Most disturbing of all was the
Colonel's reluctance to express any
opinion on flying saucers.
When Chop was transferred to
the Press Section in the Pentagon,
by the special request of Col.
Richard Searles, he felt sure he was
finished with flying saucers.
Instead, he was assigned directly to
the investigation. Project Grudge
was expanded and renamed Project
Bluebook by U.S. Air Force
Intelligence and Captain Edward J.
Ruppelt was made chief of it
(Ruppelt played himself in the
movie, adding to its historical
value and authenticity).
Soon afterwards, Chop (the real
Albert Chop approved every line of
the script dealing with himself)
learned from Major Dewey Fournet
of Current Intelligence Branch,
that the Air Force actually had
motion pictures of U.F.O's.
Fournet showed him the Montana
film, explaining that, after thorough
analysis, the Objects remained
unidentified (the real Dewey J.
Fournet, like Chop, also approved
every line in the script regarding
his official activities, though
Fournet's role was played by an
actor).
Chop also learned that more film
had been shot in Utah by Navy
Photographer Newhouse (Delbert
12
CLARENCE GREENE and RUSSELL ROUSE
Produced by
Directed by
present
"UNIDENTIFIED FLYING OBJECTS"
Written by Francis Martin
Winston Jones
.Fernando Carrere
docun
"Not
birds-
concli
Utah
press,
Produced by Clarence Greene Directed by Winston Jones
RELEASED THROUGH UNITED ARTISTS
reveal
On
CREDITS
moved
Presented by
.Clarence Green and
Wash
Russell Rouse
had sl
.Clarence Greene
mobb
over t
Ond
26, Cl
Head
pickin
Nation
Chop
.Paul Stone
witnes
.Ernest Gold
while
.Emil Newman
Washi
.Stefan Arnsten
sent u
.Hal Overton
made
.Buddy Myers
sightin
.Vinton Vernon
kept s
A GREEN-ROUSE PRODUCTION
public
misinf
The
Associate Producer
Written by
Film Editor
Photographed by
.Francis Martin
.Chester Schaeffer, A.C.E.
.Howard A. Anderson,
Ed Fitzgerald (Northwestern Locations)
Bert Spielvogel (Eastern and Southern Locations)
Assistant to Producer
Music by
Conducted by
Associate Editor
Sound Recorder
Rerecording Mixer
Music Mixer
Albert Chop, at first skeptical about UFOs Is told by an eminent scientist
to keep an open mind to the possibility that UFOs are real.
Newhouse himself was interviewed
in the movie), and that Ruppelt and
his staff were analyzing it. Later,
after studying thousands of reports
and analyses of sightings, Chop
joined the top Pentagon brass for a
viewing of the secret Utah film
(Nicholas Mariana, having
photographed two UFOs in
Montana, also appeared in the
explan
interco
now th
Chief
confer
from th
the mo
presen
stated
observ
things.
From
convin
contro
there
atmos
undeni
left no
and "V
He wa
was in
and th
(A fi
followi
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"U.F.
Chop
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phenor
full inv

[PAGE BREAK]

n
for a
documentary). The reports stated,
"Not balloons, not aircraft, not
birds not faked." The Official
conclusion was "Unknowns." The
Utah film was never shown to the
press, nor was its existence
revealed (until much later).
On July 20, 1952, the Unknowns
moved in for the first time over
Washington, D.C.-Chop, who
had slept through it all, was
mobbed by queries from editors all
over the country.
One week later, the night of July
26, Chop was called to C.A.A.
Headquarters. Radar was again
picking up Unknowns over the
Nation's Capital. For six hours,
Chop and Major Fournet were eye
witnesses to the radar contact
while UFOs hovered over
Washington. Jet interceptors were
sent up, and visual contact was
made in addition to the radar
sightings. This incident also was
kept secret from the press and
public. Even the White House was
misinformed.
The press demanded
explanations. They knew that
interceptors had been sent up, and
now they wanted the facts. The
Chief of Staff ordered a press
conference the next day (film clips
from the conference are included in
the movie). Chop and Ruppelt were
present when General Samford
stated there were "credible
observers of relatively incredible
things."
77
From that night on, Chop was
convinced there was no longer any
controversy as to whether or not
there were U.F.O's moving in the
atmosphere. They were an
undeniable fact. The only questions
left now were, "What are they?"
and "Where do they come from?"
He was also convinced that there
was intelligence behind the objects
and that their source was space.
(A final note: In the years
following his own official UFO
activities and the production of
"U.F.O.," the real Mr. Albert M.
Chop has considered other UFO
theories besides the extraterrestrial
idea, though he still, to this very
day, remains certain that the
phenomenon is real and demands a
full investigation.)
Chop (Tom Towers), seated at left, sits through a classified showing of
the Utah UFO film with highranking military officers. These men and
many other extras in "UFO" were really members of the Los Angeles
Police Dept.
FE
THERE IS A GALE
FOR INTERPLANETARY
SAUCERS
Pan 7.197
Chop and his wife discover that LIFE has hit the nation's newsstands
with an important article suggesting that UFOs are very much a reality,
and that they may be extraterrestrial,
At home, Chep gets a fateful telephone call from a government
official UFOs are over Washington, DC. for the second time in a week,

[PAGE BREAK]

NOW! THE TRUTH ABOUT FLYING SAUCERS!
You'll ses his "top secret films
of them for the first time!
This radar screen "captured" them
over Washington, D. C.
He caught" them with his camera)
22
This plane crashed trying to catch them!
He almost collided with one of them!
This jet fought a fantastic dogfight with one of the
SEE IT ALL AS IT ACTUALLY HAPPENED!... and is still happening!
HE MOTION PICTURE SCOOP OF THE CENTURY
CLARENCE GREENE and RUSSELL ROUSE present
BJECT
26
26
NIDENTIFIED
LYING
by FRANCIS MARTIN Produced by CLARENCE GREENE
"UFO"
REVISITED
With a number of UFO films cur-
rently being made or in the plan-
ning stages, we take a look back
at the first feature-length UFO docu-
mentary. This then is a tribute to
the Grandaddy of all UFO films on
this, its Twentieth Anniversary.
By Robert Barrow

[PAGE BREAK]

e of them
Most of U.F.O. concerned the official UFO
activities of Albert M. Chop. In the fifties,
he watched the UFO story in the making
with government officials; today, he has
energy project.
dealings with the government's atomic
Al Chop (Tom Towers) is promoted to
Chief of the Press Section at Air Materiel
Command, Soon after, he is transferred to
the Pentagon and assigned to Project
Bluebook.
"I saw an unidentified object.'
. Clarence Greene, producer of the
1956 United Artists release, U.F.O.,
recently gave me this answer when I
asked why he decided to make the
movie. In 1956, Greene was a partner
in Greene-Rouse Productions, Los
Angeles. Today, he is President of
Tower Productions, located in the
same city.
Since U.F.O., Greene has produced
a number of motion picture features:
The Fastest Gun Alive, New York
Confidential, The Oscar, Caper of the
Golden Bulls, and others.
Because of his simply-stated reason,
Clarence Greene produced a major
motion picture dealing with the UFO
subject which surfaced in 1956, 92
minutes in duration, 8,166 feet in
length, and shot in black & white-
except for two actual films of UFOs
which were offered in their original.
color..
During an August night in 1952,
Greene and a friend were standing
outside the former's house. The friend
called his attention to an object in the
sky that looked like a "sphere of light."
For five minutes they watched the UFO
maneuver through stops and turns
until it finally sped away over the
horizon. Later, Greene learned that
the UFO had also been seen by
members of the Ground Observer
Corps.
The producer readily admitted that
the sighting made "an indelible
KRIM RIM
IST SHOP
GEODGE SANDERS
ZSA ZSA LAUGH YOORE DE CARLO D
OF ASCOUNDREL UFO
TOM TOWERS
UNIDENTIFIED
LYING OBJECTS
OUNDREL
ST SERVING GEDE SADERS
ZSA ZSA E TICE LECABLA
DEATH OF SCOUNDREL UFO
CHIEF OF PRESS
impression" on him. The next day, he
told his partner, Russell Rouse, and
the Greene-Rouse staff of the incident.
This was a harsh period of time for
sighting witnesses who made their
reports public, and now Clarence
Greene knew how others must have felt
in the face of contempt and ridicule.
"I was to learn,'
," he explained, "that
hundreds of other sightings had been
made, with the sighters reluctant to
Dewey J. Fournet, Jr., today: In the early
fiftles, Major Fournet was the Monitor of
the AF UFO Project. He, Chop and Rup.
pelt worked closely together.
When some of Tom Towers' friends In
Detroit learned that U.F.O. was coming
to town in 1956, they arranged to have
his name put up in lights on the marquee
of the KRIM Theater. Towers recalls that
the friends owned the theater, and sent
him this photo "much to my pleasure and
surprise."
27

[PAGE BREAK]

"UFO”
REVISITED
Al Chop (Tom Towers) watches UFOs on
radar as the things continue their man-
euvers over Washington, D.C. In 1952.
The other officials are portrayed by Los
Angeles law enforcement officers, who
provided their talents to U.F.O.
NOW!
Washington, D.C. UFOs show up on radar,
surrounding "Red Dog One" jet Interceptor.
SIBIT ALL
SIT ACTUALLY
mention it for fear of ridicule. I found
myself becoming irritated at the
scoffers. I was at a complete loss to
understand why there seemed to be
such a determined effort to suppress all
news of UFOs by what seemed to be a
planned campaign of skepticism and
scoffing."
Greene decided the public should
know the facts about "flying saucers.'
He began to delve into the UFO
enigma. He discovered that Albert M.
Chop, who had once been the Penta-
gon's Press Information Specialist and
handled UFO news was nearby on
the West Coast.
"I had several meetings with him,"
Greene stated. "Chop was reluctant to
talk at first. But when he realized I was
dead serious about the unidentified
28
flying object business, he gave me a
breakdown on Project Bluebook, code
name for the investigation of UFO.'
Chop and certain newsmen subse-
quently arranged a meeting between
Greene and Capt. Edward J. Ruppelt,
USAF Reserve, former Director of
Project Bluebook.
"Together," Greene continued, "we
went into a lengthy and exhaustive
study of reports, various documents
and affidavits of UFO sightings and
reports from radar experts which, with
some heretofore top secret motion
pictures, in color, of flying saucers,
form the basis of the film.'
Several months ago, Greene assured
me that there was no official opposition
to his plans to make the movie, nor was
there any from his colleauges when
they learned of this first-time event. He
had no trouble in negotiating for use of
the Montana (Mariana) and Utah
(Newhouse) UFO films, which had
only recently been de-classified and
made available publicly.
However, according to David Michael
Jacobs in his excellent book, The UFO
Controversy in America (1975, Indiana
University Press), there was official
concern going on in the background
over Greene's movie. Jacobs stated that
Capt. George T. Gregory, who became
head of Project Bluebook in April,
1956, was a UFO "debunker." He and
the Air Force were obviously very
concerned with U.F.O. Quoting
Jacobs:
"Gregory kept a file of all the
movie's reviews, notifications, and
advertisements, carefully underlin-
ing every statement that might
cause problems for the Air Force or
generate interest in UFOs. From
Richard Dyer McCann's review in
the Christian Science Monitor,
Gregory singled out the statement,
'It will almost certainly stir up a
storm of public controversy,' and
added the marginal note, "This is
something that neither PIO (Office
of Public Information) or ATIC
would like to undergo again!'
ATIC asked (Dr. J. Allen) Hynek
(AF Chief UFO Consultant) and Air
Force officers to review the film
before its release, and asked photo
experts to compare copies of the
Mariana and Newhouse films with
the excerpts shown in the movie.
ATIC Chief Scientist A. Francis
Arcier met with agency officials to
(Continued on page 52)
I

[PAGE BREAK]

"UFO" REVISITED
(Continued from page 28)
discuss the preparation of a case file
giving the official Air Force explan-
ation for every sighting portrayed in
the film.
"When the film was released in
May 1956, the 'storm of controver-
sy' turned out to be little more than
a light mist. UFO was successful,
but it did not cause flying saucer
hysteria, criticism of the Air Force,
or more UFO reports." (pp.144-145)
Air Force concern was probably
legitimate at the time, for Greene had
gone straight to the source by getting
technical assistance from people like
Chop, Ruppelt and Dewey J. Fournet
Jr. (Fournet, as an AF Major, had been
the AF UFO Project Monitor).
Clarence Greene demanded realism
in his movie. Several key people played
their own roles. Many of the "extras"
in U.F.O. were officials or members of
the Los Angeles Sheriff's Department
who had had experiences with UFOs
and UFO reports. They offered their
cooperation by "moonlighting" in the
movie. And while it is true that U.F.O.
is a film composed of unknown actors,
there is a scene during portrayal of the
legendary 1952 radar-visual, sightings
over Washington, D.C. where
well-known name is involved. The
voice of the pilot of "Red Dog One,'
who is surrounded by UFOs while in
flight, is that of veteran actor Harry
Morgan, who plays Col. Sherman
Potter on the television
M*A*S*H.
a
series,
Despite Greene's painstaking con-
cern for authenticity (even the script
went through some severe changes in
the interest of accuracy-the final
production seems totally unlike many
of the original pages of the script),
U.F.O. did not "make brcks" at the
theaters. This seems to be a real
anomaly, considering the period inter-
est and enthusiasm for unusual and
science-fiction films. Why didn't
U.F.O. captivate everybody with its
enticement for real oddities?
At any rate, according to Albert
Chop in a letter he wrote me in 1966 (he
was then Deputy Public Affairs Officer
for NASA in Houston), "The docu-
mentary U.F.O. accurately portrays
my role in Project Bluebook. We tried,
and I think succeeded, in keeping the
film honest and accurate.
"Perhaps that is the main reason
why the producer and all participants
failed to realize any monetary gains
52
from the effort. According to the
books," Chop certified, "the producer
lost over a hundred thousand.
"Maybe a little of the Hollywood
touch would have helped."
I asked Greene why the movie lost
money at the box office. Was it
possible, I queried in a letter, that the
country wasn't ready for the docu-
mentary-like motion picture in 1956?
"It is possible," he replied, "but the
audience wasn't ready.
He had "no way of knowing" how
U.F.O, might have done if it were
filmed today instead of in 1956.
Further, Greene disclosed that he
never considered making a U.F.O.
PART II.
No matter, though, how the movie
fared at the theaters, UFO researchers
and "fans" can be grateful to Clarence
Greene for his concern with honesty in
the documentary.
"I made U.F.O. because of a simple,
but most urgent belief," Greene stated
when the movie opened in 1956, "that
the public should know the true facts
about flying saucers."
Well, what about Al 'Chop and
UFOs? This is the man whose
background of UFO knowledge and
work for the government in the early
fifties precipitated Clarence Greene's
efforts in making a movie about his
official UFO experiences.
Prior to Chop's assignment to the
Pentagon's UFO Press Desk, Chop
acted as Chief of the Press Section,
Headquarters, Air Materiel Com-
mand, USAF, at Wright-Patterson
AFB. At that time he wrote press
releases, unsigned articles and re-
sponses to various inquiries. These
duties were routine to the job. Among
the unsigned pieces Chop wrote was
one on helicopters which were becom-
ing popular for use in the Korean
conflict. The article saw print in
Newsweek and assorted newspapers
across the country.
Chop's opinion about UFOs at the
time was: "This whole saucer business
is pure, unadulterated bunk." He was
as confirmed a skeptic as there could
be.
However, after his promotion to
Chief of the Press Section at A.M.C.,
he began to change his mind. Chop
talked with top government personnel
who were certain UFOs existed. He
learned the government was, indeed,
vitally concerned about UFOs.
When he was transferred to the
Pentagon's Press Section, by request of
Colonel Richard Searles, Chop-much
to his surprise-was assigned directly
to UFO investigation. It was here that
he met Maj. Dewey Fournet of the
Current Intelligence Branch. Chop
worked closely with Fournet (UFO
Project Monitor) and Capt. Ruppelt,
head of Project Bluebook. Throughout
the months he served with the official
project, Chop cautiously began to
accept the reality of UFOs.
What caliber of UFO sightings did it
take to alter his skepticism of "flying
saucers?" One early report from 1951,
mentioned in U.F.O., was sophistic-
cated enough to make a big impression
on Al Chop. He recently recalled:
"There was a report from General
Mills' scientists who were tracking a
large weather balloon with a theodo-
lite," Chop began. "They saw an object
descend on their balloon and make
several passes at it. When the balloon
was retrieved, it had a ten-foot dent in
its side. The report contained figures
on elevation, wind direction, and
details on the appearance and exit of
the UFO."
Considering the position Al Chop
held, enviable from the viewpoint of a
UFO researcher, it is easy to realize
how the Pentagon's Press Chief became
a believer.
"You must remember," he contin-
ued, "that I was privy to the project
files. These contained hundreds of
official reports of UFO encounters
made by military personnel from all
branches of the service. They were all
classified with a high degree of security
classification.
"Almost all of these made pretty
scary reading from the verbatim
(escriptions of the pilots concerned."
By the time Chop viewed the famous
Utah and Montana films, two years
later, his observation of them "merely
strengthened my personal beliefs and
theories on the subject of UFOs. . .I
leaned heavily toward the extraterres-
trial theory prior to viewing the
Montana and Newhouse films."
Chop described for me what it was
really like to have been on the scene
during the incredible incidents depict-
ed in U.F.O. Without a doubt, his
most hectic time with the official
project came during the classic month
of July 1952, when up to 14 UFOs (at
one time) appeared several times over
Washington, D.C. On July 20, when
the things first flew over the nation's
capital, Chop was home sleeping
through the chaos. But for the next
week his desk was bombarded with
press queries from across the country.
Then, a week later, Al Chop really
became firmly involved in UFO

[PAGE BREAK]

al
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ly
O
history. It was July 26, around
midnight, when the phone at his home
rang.
from the FAA Public Information
"The initial phone call was received
Officer at the airport (Washington
National)." The officer told Chop the
UFOs over D.C. were being tracked on
radar.
"I told him I would be there as
quickly as I could make it. After
dressing, I called Major Fournet at his
home and gave him what information I
had. I asked my wife, Dolores, to come
with me." This is one of the few points
on which the movie and reality differ.
In U.F.O. Chop (played by Tom
Towers) tells his wife "Don't wait up"
and leaves for the airport by himself.
Speeding to Washington National,
the Chaps kept looking skyward,
hoping to see the objects which some
people were seeing visually. There was
nothing in sight.
"I was rather apprehensive, but for no
particular reason," Chop recalls. "All
reports (of previous sightings) failed to
mention any hazard to the observers. I
did wonder what fate had decreed that
I would be a part of the UFO project.
"In my haste I did probably run a
few red lights or stop signs. However,
there was extremely light traffic at that
time of morning, and I made the trip in
a matter of 20 minutes or less."'
The movie U.F.O., like many
written accounts of the Washington
National sightings, concerned itself
with the prominent details. I thought it
would be interesting to ask Chop about
the lesser known, obscure factors of his
arrival at the airport.
"Well," he went on, "a routine
evening in an airport traffic control
center can best be described as
exceedingly monotonous...at least
back in 1952 when most airplanes were
slow prop jobs and air travel was not at
its heyday. The military planes had
their own airport facilities and were not
using Washington National runways
except on special occasions. So, there
usually was very little conversation
among tower personnel except the
routine conversation. .and the usual
low-key conversation between con-
trollers and aircraft pilots flying in
their vicinity.
But, true to the setting of the motion
picture which dramatized this summer
night in 1952, "The atmosphere. .
was 'electric.' Everyone was aware that
something unusual was going on.
"There were at least a dozen news
media representatives on hand. They
were confined to an ante room outside
the radar room. They were
all
clamoring for access to the radar.'
Chop immediately gave permission for
the newsmen to watch the unknowns
on the radar scope. "So, we had a
mixed bag of reporters, including
photographers, government personnel
and airport control operators. Major
Fournet arrived soon after I let the
reporters into the room.'
In U.F.O., Chop is seen to refuse
reporters access to the radar, which is
inaccurate, though news personnel
were asked to leave during intercept
attempts, as was Mrs. Chop.
I asked Chop how everyone in the
scope room felt when one of the
pursuing pilots (Red Dog One) was
surrounded by UFOs visually and on
radar. Was there a sense of helpless-
ness or disbelief?
"Disbelief. . .No! Helplessness.
Yes!" he insisted. "As we looked up at
each other while watching that inter-
cept attempt, you could imagine each
of us trying to think of something that
would be helpful.
"I might also add there were no
disbelievers around that scope. We all
knew these objects represented some-
thing with which we could not cope."
All of this happened for several hours,
while the radar room was in constant
contact with the radar personnel at
Andrews AFB (where UFOs were
simultaneously tracked on radar).
"These people were as apprehensive as
we."
Skipping ahead to the present year, I
asked Chop if his views on UFOs had
changed since 1956, when the movie
portrayed him as accepting the extra-
terrestrial theory for UFOs.
"I have not changed my theories on
this subject as expressed in the film,
except to consider the possibility that
these objects could originate from
another dimension in time and space.
"It does seem improbable that
physical objects can travel the vast
distances between star systems in a
profitable time span. ..as we measure
time and longevity here on our planet
Earth." Chop has apparently done
some thinking in this realm; he has
discussed, for example, various theor-
ies on what happens to dying stars that
eventually become "holes" in space,
with top physicists.
Clarence Greene indicated in 1956
that Chop was reluctant to assist with
U.F.O. Chop bears this out.
"When first approached about
helping with the documentary back in
1954, I was extremely wary about
getting involved. However, in subse-
quent discussions with Greene and
Russell Rouse, I became convinced
they really wanted to do an unbiased,
objective documentary that would shed
some light on this subject for the
general public.
"A secondary, yet very important
objective, was to try to stimulate more
interest in UFOs among the scientific
personnel in our country.'
Did you like the finished product?
Any regrets about the movie?
"I continue to have mixed emotions
concerning our efforts. I think we did
make a contribution.. .but we didn't
achieve our goals. I am reminded of
this every time I meet up with, or read
about, an individual who flatly states
there is nothing to the subject.
"One wonders," Chop considers,
"what it will take to get people on
Earth vitally interested.
"I wince when I think of the cost of
the University of Colorado's 'Condon
Study.' It is so damn obvious to anyone
involved in the project that the
'findings' are nothing but a calculated
farce. But why? Somewhere, there's a
reasoned motive I will never under-
stand.
Drawing again on his own experi-
ences with the official UFO investiga-
tion, Al Chop commented on a couple
of names which are familiar to many
UFO researchers.
"It was interesting to observe from
the sidelines how Dr. Robert L. Baker
changed 180 degrees from a disbeliever
to one embracing the extraterrestrial
theory as a result of his study of the
Montana and Newhouse films. In
similar fashion, it was interesting to
observe the change in Allen Hynek. I
met him many years ago when his
primary mission in the project seemed
to be that of casting discredit on all
those who reported UFO encounters.
Chop finally left the Press Desk at
the Pentagon "because it was apparent
the lid was back on the project and I
don't believe in working in a vacuum."
Nor did he like working in the
Washington, D.C. area.
His only recent efforts on the UFO
subject went into the syndicated TV
documentary, UFOs: Past, Present
and Future, presented by Allen Sand-
ler. Chop had not seen the feature, but
heard from various people that it was a
"good effort."
"Clarence Greene and Russel Rouse,
as well as Allen Sandler, all lived up
to
my expectations as well as their own
word concerning film documentaries. I
have no regrets over being part of their
(Please turn page)
53
L

[PAGE BREAK]

efforts. I am disappointed that we
could not achieve more with the
think we did make a good start.'
material we had to work with, but I
In response to a question about UFO
investigations of today, Chop believes
"the news media has come a long way
in their treatment of UFO reports.
Unfortunately, the government policy
has not changed noticeably...it still
subject.
exudes an air of disinterest in the
.it is down-played as being of
no particular importance. It is regret
table that our government officials
cannot be more candid about their
activities in this respect.'
Seemingly, Chop doesn't buy the
story that the government stopped
investigating UFOs when Project Blue-
book closed: "Our military forces and
national security agencies have the
continuing responsibility of investigat-
ing everything and anything that might
prove a 'possible' threat to our country.
"It follows, then, quite naturally,
that UFOs must continue to be
investigated thoroughly...or the
agencies concerned are not doing their
assigned job.
Chop indicated a preference that
might surprise veteran UFO research-
ers. "I would welcome an opportunity
to be involved in any official govern-
ment program dealing with UFOs.
"It would have to be an objective,
unclassified effort, with security class-
ification limited to a genuine need to
, .safeguard our own hardware perform-
ance. And," he reflected, offering a
quick qualifying remark, "since that
will never come about in my lifetime, I
prefer to sit on the sidelines as an
observer.
"That's my reasoning," Chop said,
"and it goes all the way back through
Projects Sign, Grudge and Bluebook,
which should tell you something about
the continuing need for study efforts."
Al Chop. With his background, he
could only be an asset to a private UFO
investigation. He departed from
NICAP many years ago because "UFO
authors" had distorted his image and
tried to tie in his UFO-NICAP
affiliation with his NASA employment.
There was no such connection, but
Chop, tired of the lies and angered by
the inaccuracies, left the UFO scene.
Aside for his respect for the movie
that portrayed him so well, Chop is a
good long-time-friend of Major Donald
E. Keyhoe (USMC, ret.) and staunchly
lauds Keyhoe's pioneering UFO work:
Al Chop. After these years, he keenly
reinforces what many UFO reseachers
tend to forget:
54
"Someone, somewhere, has got to
have the responsibility in our national
security plans to continue the investi-
gation of unknown objects reported in
our skies.
Dewey J. Fournet Jr. is presently
employed as a member of management,
in a large international chemical
company. Like Chop, he stays quite
busy with his job, and he isn't a
publicity-seeker in any 'sense. As a
matter of fact, when it comes to UFOs
these days, Fournet stays very "low
key.'
He offered me some rather profound
dialogue, however, dealing with his
involvement in the Air Force UFO
project in the early fifties. He, Chop
and Ruppelt worked closely together
on the official UFO investigation.
And, like many other knowledgeable
contributors, Fournet provided techni-
cal experience during the making of
U.F.O.
Fournet's role in the Air Force was
intelligence. He served in the Army
nearly four years in World War II, and
for the last three years of that period he
performed intelligence work in the
Army Air Force. The Air Force became
a separate operation soon after the
war, and Fournet's reserve commission
was transferred from the Army to the
Air Force.
In April 1951, Fournet found
himself recalled to active Air Force
duty and he was sent to Air Command
and Staff School until August. He was
soon assigned to Intelligence at the
Pentagon.
"Shortly afterwards," he recalls, "I
was assigned official Headquarters
responsibility for the UFO program,
serving as Monitor for Project Blue-
book and handling UFO-related intell-
igence matters."
Major Fournet left active service-
and the UFO project-in January
1953, having racked up five and a half
years with the military during the two
periods.
"I was indeed a UFO skeptic when I
was first assigned to the program,
Fournet states. "At some point during
the first few months of my assignment
probably during early 1952-1 be-
came convinced that the subject
deserved serious attention.
"This change," he indicates, "occur-
red as a result of my exposure to the
project files and the study of the
steadily increasing volume of sighting
reports.
"I didn't become a 'believer' in the
popular sense," he cautions. "I simply
changed my posture from complete
disdain of the subject to one of
conviction that it needed serious
study."
Fournet, whose comments typify an
intelligence officer who treated his
work seriously, explained that the
USAF had to learn as much as it could
about the UFO phenomenon, "if for no
other reason than to be able to discern
a potential Soviet attack through the
background 'static' created by the
deluge of UFO reports in 1952.
Nowadays, admitting that scientific
curiosity had to remain subordinated
during his active USAF participation,
Fournet hopes that science will take a
major role in identifying UFOs.
In the movie U.F.O., Fournet (who
did not play himself, though he
-approved every line of his part in the
script) shows Al Chop the Montana
and Utah UFO films. In reality he, like
Chop, found the films very curious.
Following lab tests and witness inter-
views involving the Utah film, Fournet
turned out to be one of the people
responsible for classifying Delbert
Newhouse's filmed UFOs as "un-
knowns."
Dewey Fournet has played a mostly
silent role as a member of NICAP's
Board of Governors since 1957. He
recently attended the well-attended
UFO conference held at Fort Smith,
Arkansas (where, in fact, the Loren-
zens of APRO kindly told him of my
interest in interviewing him).
Again, thinking back, he summed
up his views on the government's
efforts to explain UFOs.
"Personally, I regret the fact that the
government no longer associates itself
with this subject, although I feel no
remorse whatsoever over the burial of
the USAF project because of the
extremely negative path that it general-
ly followed after 1953.
"Captain Ruppelt confided to me
that he could see the negativism
developing following the report by the
CIA Scientific Panel in early 1953, and
this was the main reason for his request
to be reassigned from the project."
Fournet is keen, probably, with
justification, in emphasizing that the
Air Force was mainly concerned with
whether UFOs were a threat to
national security. However, "when the
CIA Scientific Panel concluded in 1953
that no threat was evident, the Air
Force philosophy seems to have
undergone drastic modification with
minor variations until the project was
disbanded following the infamous
Condon report.'
If a government agency with a less
It
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[PAGE BREAK]

e
e
limited mission had been funded to
study UFOs, according to Fournet, we
might have had some of the answers to
UFOs.
"Since this has never been done,
feel that it was proper for privately
funded organizations to move into the
vacuum." But there are problems.
"For example," Fournet concedes,
"there are few totally serious organi-
zations. Too many have sprung up on
the fringe element, either to promote
preconceived philosophies and/or 'sol-
utions' or to realize monetary wind-
falls. Then, the few sound organi-
zations represent a fragmentation of
resources and overlapping efforts, as a
consequence of which no one is able to
bring to bear all the available talent in
one coordinated attack on the prob-
lem."
Dewey Fournet-via Major Fournet
-was portrayed in U.F.O. in several
scenes. Like Al Chop, he was present
during the famous Washington
National sightings in 1952.
"My involvement in the Washington
.incidents did entail hectic days and
nights, although these sightings were
merely a small part of an unbelievable
hectic period of eight or nine months in
1952. The advantage during the
National sightings was that Fournet
didn't have to depend on eyewitness
accounts. He was on the scene,
observing the UFOs on radar.
"My attention to what was going on,
however, was far from undivided―
long distance phone calls to handle,
fighter interceptor requests to make,
reporters outside to be satisfied, etc.'
At this point in reality, there arises
another conflict in what U.F.O.
portrays.
"In fact, I wasn't even present when
a fighter pilot reported that he was
surrounded by UFOs," Fournet ex-
plains.
"In reviewing the movie script, I had
taken issue with Al Chop over this, and
only after considerable discussion and
reflection did I finally conclude that
this occurred when I was on the phone,
talking to Bob Ginna of Life.
Discussing U.F.O., Fournet is care-
ful to assert that the events in the movie
are depicted as they are seen through
the eyes of a public information
officer (Chop). "Although the facts
depicted are accurate," Fournet said,
"actual operations in Intelligence were
materially different in many respects
from the impressions the movie can
leave. Al happened to be a privileged
recipient of considerable information
because I had convinced my superiors
in 1952 that all non-sensitive UFO
information should be made available
to the public.
"Because of this," Fournet points
out, "I tried to keep Al informed of all
developments that I thought would
provoke queries from the press and
members of the public.
"This was the only 'open' period that
I know of in the entire existence of the
UFO project."
The written interview with Dewey
Fournet included a final question.
Do you feel a lot of important UFO
information has been and/or is still
being censored by certain government
agencies?
"To the best of my knowledge," he
replied in conclusion, "there has never
been any censoring per se, with the
exception of deleting names of witness-
es and any data pertaining to radar or
intercept procedures.
"On the other hand, I'm positive
that the public. was frequently fed
misleading statistics and examples of
reports that were atypical, intended
only to make the subject appear to be
entirely asinine."
Straight talk from Dewey J. Fournet
Jr., another important figure in UFO
history who helped to add accuracy to
U.F.O.
Clarence Greene was well on his way
to making his planned documentary a
celluloid reality in late 1955.
Al Chop had given the okay to basing
the film on his experiences with the
official UFO investigation. Dewey
Fournet had offered to lend technical
advice. Arrangements were under way
for Edward Ruppelt to play his own
role as well as give advice. Delbert
Newhouse and Nicholas Mariana were
available to be interviewed on film
about the unexplained UFO films they
had made.
In addition, Greene had enlisted the
aid of electronics engineer and radar
specialist Wendell V. Swanson. Swan-
son had built our first radar installa-
tion at Okinawa, and later analyzed
many radar-confirmed UFO reports at
Wright Field during the years the
movie depicts. By 1954, he was a
leading engineer in the missile guid-
ance division of a West Coast aircraft
plant. Like Ruppelt, Swanson played
himself in U.F.O.
The production staff was being
readied as well. Exhaustive research by
screenwriter Francis Martin was being
put into script form and undergoing
revision. Winston Jones, a Hollywood
prop man, was about to assume a more
strategic position as the director of
U.F.O.
Amidst all the organizing, docu-
menting and double-checking, how-
ever, there was still a key position to be
filled. Someone had to play the role of
Al Chop.
That someone was found in the City
Room of the now defunct Los Angeles
Examiner. His name was Tom Towers,
a writer who was then a senior member
of the Aviation Writers Association.
Towers recently recounted the events
surrounding his selection for the part:
"When U.F.O. came about, Al
Chop recommended me to Greene-
Rouse Productions as an active news-
paperman who would fill the part he
played as a member of Project
Bluebook. Chop was then working in
the public relations department of the
Douglas Aircraft Company and I knew
him through my aviation writing
duties. So, after a few meetings with
Greene-Rouse-and a check with my
editors at the Examiner-1 was able to
get a 21-day leave to make the picture.
"The picture was low-budget-
under $200,000 I believe-and I
furnished almost all my own wardrobe.
I also furnished my own car for scenes
requiring a vehicle, and the film was
made in a small hideaway studio on the
outskirts of Hollywood." Towers em-
phasizes that production was carried
out under strict secrecy for fear that
other companies might try to rush a
competing film into print. Or perhaps
to keep reporters away from the studio:
"I recall that my dressing room in this
'studio' was the men's room. What a
put-down!"
Tom Towers is very opinionated
about his role in U.F.O. He regrets
that he wasn't able to give the form of
portrayal he had in mind. "This was
because I was under the direction of a
director who was following the script
and taking orders from producers who
were genuinely interested in presenting
the facts. I do not offer this as
criticism, but only as my own feeling. I
felt the film was too damn factual. It
attracted two kinds of people: those
who believed and those who did not.
The broad middle mass could not have
cared less-and you need that market
to make a film successful at the box
office."
Tom Towers. He admits that as the
highest paid performer in U.F.O., he
only grossed $1,500.
In attempting to reach his goal of
making U.F.O. a documentary of the
highest standards, Clarence Greene
(Please turn page)
55
L
I

[PAGE BREAK]

sought out people and events that had
the means to lend authenticity. For
instance, even though the Newhouse
(Utah) and Mariana (Montana) films
had been shot in color-and U.F.O.
was filmed in glorious black and
white-Greene insisted on showing the
UFO movies in their original color.
Therefore, every point of U.F.O.
contains color sections just to accom-
modate these films.
It might be argued that Clarence
Greene left very little to chance in his
selection of convincing UFO events.
What better form of documentation
could there be than to include an
interview with a commercial airlines
pilot who, with crew and passengers
aboard, actually encountered a UFO
'while in flight?
Greene located an American Air-
lines pilot who was still on duty with the
company. His name was Capt. Willis
T. Sperry ("Doc" Sperry, as he is
known to his friends).
was
Sperry had made an important UFO
sighting on May 29, 1950, at about
9:30 in the evening. There
unlimited visibility, and Sperry's Am-
erican Airlines flight was 60 miles
southwest of Washington, D.C., head-
ed for Nashville, Tennessee. His
aircraft was flying at 7,500 feet.
Sperry (who retired from American
in April, 1971, after 32 years of service)
was about to make UFO history. A
UFO came into view.
"I was turned around in my seat at
the moment it appeared, getting a map
out of a briefcase. My co-pilot called out,
'What is that-look out-it's coming
right at us.' Sperry outlined what
happened next.
"I made an immediate right turn
from a heading of approximately 230
degrees to 320 degrees.
"The object was a very bright
shimmering blue light. We were very
interested in ascertaining its distance
from us.'
As Sperry levelled off in flight, the
UFO appeared to stop in the sky.
"As I look back on this incident I
recall that, at the time, it did not occur
to me that I was seeing an object called
a UFO. It was a very puzzling sight."
By the time the UFO appeared to stop,
the stewardess and eight passengers
had seen the light, along with Sperry,
the co-pilot and the flight engineer.
The object remained stationary for
about 30 seconds before it began
moving again. "At this time," contin-
ued Sperry, "I started a left turn to
keep it in view.
56
"There was a full moon in the
eastern sky; the object passed between
us and the moon, and I got a definite
silhouette of it. It appeared cigar-
shaped, with no external (characteris-
tics) protruding from it.
"It circled around behind us and
appeared on our right, where it again
came to an apparent stop. How far was
it from us? I will take a guess that it was
five miles away. We really had no way
of judging its distance.
I
"After about 20 to 30 seconds,'
Sperry relates, "it started moving
eastbound, climing at about a 30
degree angle. We watched it until it
disappeared."
For this interview, "Doc" Sperry
surprised this writer with further
information on his sighting-data that
is not generally known even to veteran
researchers.
"An eastbound American Airlines
DC6 between Nashville and Knoxville
at 19,000 feet, headed for Washington
and flown by Capt. Henry Myers,
observed what appeared to be a
brilliant shooting star falling eastward
from the zenith.
"When it got to the horizon it
stopped. They watched it for seconds
as it seemed to move horizontally, then
it disappeared.
"I talked to Myers after the incident
and we correlated the time of my
sighting with his, and it was exactly the
same time.
Myers told Sperry that what was
most interesting was the fact that
"shooting stars" don't stop and
change direction!
"His aircraft was 450 nautical miles
to the soutwest of us," Sperry contin-
ued.
"I have been reluctant to report this,
as he asked me at the time to please
keep his sighting out of the news. He is
now deceased. Capt. Henry Myers was
the pilot of the Sacred Cow, which flew
President Roosevelt during World War
II," Sperry added. (I double-checked
with Sperry to make sure he wanted
this information released now; he did,
and I'm glad.)
Thus, Clarence Greene invited Sperry
to tell his story in U.F.O. The interview
took place at L.A. International
Airport.
Now, twenty years later, Willis
Spèrry is in partnership with another
man, and he's still in the "flying
business," though from a different
point of view. Instead of just piloting
assorted aircraft, Sperry now sells
them, at his Orion Aircraft Sales
Company (Van Nuys, California).
Sperry was asked if he recalls
receiving any public reaction or any
reaction from American Airlines after
his interview in U.F.O. appeared
across the nation. "The public reaction
at that time," he indicates, "and from
American Airlines, was genuine inter-
est.
"1
Sperry confirms that no particular
physical effects resulted among any-
body on the plane during or after the
UFO sighting.
"I had no idea that this sighting
would generate so much interest," he
confesses. "Almost everyone seemed
genuinely interested in what I saw. I
had several interviews with Air Force
Intelligence personnel from Washing-
ton.
"American Airlines expressed only
interest in what I saw and never issued
any censorship orders to me.'
In the Greene-Rouse movie, Sperry
was asked, "Have you ever seen any
similar object, Captain?" He replies,
"Never before or since." He feels the
same today.
"Although I observe probably more
than the average layman for any
unusual phenomena, I have never seen
anything since then."
Willis Sperry. Like so many pilots,
he believes UFOs are more than
products of the imagination.
What is your opinion of UFOs in
1976? I asked in conclusion.
"I am very much of the opinion that
there is some extraterrestrial phen-
omenon that has not been explained,"
he advises. He believes that the
findings of Erich von Daniken (Chari-
ots of the Gods?) are very convincing.
But Sperry bases his belief on other
events-like sightings by people who
know about things that fly-on the
Earth and beyond.
moon
most
"The sightings by Apollo flights to
the
should convince
skeptics that this old Earth has been
visited in the past as well as the
present.'
Willis Sperry. In many ways, he
unintentionally acts as a spokesman
for many pilots whose views on UFOs
are similar to his own.
Willis Sperry. Another reason why
U.F.O. can truly be classified a
documentary.
All the good, sincere people-all the
documentation-all the time and all
the planning came to fruition in May
1956, when U.F.O. was released by
theaters around the world. Movie
reviews were generally kind, often
ecstatic. Columnist Louella Parsons
wrote:
"Hollywood is talking about the
GREE
g₁
st
al
a1
al
ACW
no
di
01
gl
to
fa
up
CU
CO
pl
We
ph
D.
Th
ra
att
Al
Sa
he
dis
TE
TH
TI
PI
ser
sta
TH
FA
TI
PL
I
sta
on
scr
fac
my
I
Ma
reg
New
unk
S
as 1
Par
pre
We

[PAGE BREAK]

ar
y-
ne
ng
he
ed
I
ce
g-
ly
ed
2359
y
S,
re
PUB
y
n
5,
n
n
incredible interest expressed by fans
saucer film...made by
and those in the industry over the flying
Clarence
Greene and Russell Rouse with our
government's knowledge. It actually
shows pictures of the saucers and is
attracting front page and editorial
attention although what the saucers
are is still a mystery."
From Variety: "An authentic beat!
Interesting, informing and important!
Gripping climax! Should register
well!"
And the movie did register well, but
not as well as it should have. The
documentary approach just didn't go
over as attractively as the producers
had planned. Why not, is anybody's
guess, and the whole question is
irrelevant at this point, anyway.
Greene-Rouse went to great lengths
to support their motion picture with
facts. Every document that would back
up the story line was placed in the
custody of a Los Angeles insurance
company and made available for,
public inspection.
Among the documents on file was a
weather chart which reported atmos-
pheric conditions over Washington,
D.C. during the July 1952 sightings.
The chart reportedly proved that the
radar pick-up of UFOs could not be
attributed to temperature inversions.
Also on file was a transcript of General
Office Branch, Deputy Chief of Staff,
Intelligence USAF) stated that the
Newhouse Utah UFO film "could not
be produced under simulated condi-
tions.
At the same time, this press
statement "was cleared by Col. Adams,
Chief of Current Intelligence, and also
by the Air Force Office of Information
Services." Then, the puzzler:
"At the last moment," the statement
continued, "this press statement was
killed by Col. Teaburg of Air Force
Intelligence." Assuredly, the military
works in strange ways.
However, Col. Adams sent a letter to
Newhouse, telling him that his UFO
film "still remains one of the most
interesting incidents we have investi-
gated."
The full report of Thomas Mantell's
death while chasing a UFO was also
placed on view.
The Gorman case of October 1948,
dramatized in U.F.O., was on file,
containing information on a blinking,
white light that made a pass at the
Fargo, North Dakota, Air Base tower.
Lt. Gorman,coming in for a landing,
dove at the light and chased it for 27
minutes while several observers watch-
ed the "dogfight." Substantiating
witness reports were on file.
Another official report, from Janu-
society, A.S.C.A.P. It's one of those
scores that, if put into an LP album (as
so many movie scores are these days),
might be very successful.
Where can U.F.O. be found these
days? Actually, the motion picture can
be obtained for special showings (or by
TV stations when purchased in a
"package"). Write the following for
information, and don't fear the price of
rental-group showings can be ar-
ranged for around $70.00 per viewing:
UA Sixteen, 729 Seventh Avenue, New
York, N.Y. 10019.
"Unidentified
Clarence Greene.
Flying Objects."/
Maybe if the two of them had made
acquaintances today, instead of 1956,
the movie would have the same
shattering effect on audiences that
recent films like Chariots of the Gods?
have had.
Strange, really. Way back in Decem-
ber '75, I wrote Clarence Greene and
asked a question that was special to
me.
Considering how public interest in
UFOs has become more heightened
and sophisticated over the years, would
you ever consider making another
UFO film documentary? Green's reply
consisted of just one word.
"Possibly."
One contemplates what wonders
Clarence Greene might work with an
Samford's Pentagon press conference ary 1951, was in the hands of the updated documentary on the UFO
t
1-
held after the July 26 sightings.
e
er
e
n
'S
y
a
PA
e
y
e
S
A wire from Al Chop was likewise on
display in which he said: "I AM
TELLING THE TRUE FACTS TO
THE PUBLIC FOR THE FIRST
TIME IN YOUR MOTION
PICTURE. . .
Capt. Edward Ruppelt, USAF Re-
serve, also had a wire on file, and he
stated: "I HEREWITH CONFIRM
THE AUTHENTICITY OF THE
FACTS AND INCIDENTS DRAMA-
TIZED IN YOUR SCREEN-
PLAY.
Maj. Dewey Fournet submitted a
statement to Greene-Rouse, also kept
on file: He certified that the part of the
script dealing with his role was
factually correct and true to the best of
my knowledge.
Delbert C. Newhouse and Nicholas
Mariana each placed statements on file
regarding their UFO films. The
Newhouse film contained up to 12
unknowns; the Mariana film, two.
Some of the documents on file were
as much of an anomaly as the UFOs.
Part of an official press statement
prepared by Albert Chop and Colonel
Wendell Smith (Current Intelligence
insurance company. A Mid-Continent
Airlines DC3 had taken off from Sioux
City (Iowa) Airport. As it climbed for
altitude, an unidentified light closed
in. The object made a head-on pass at
the DC3, which swerved to avoid a
collision. The incident was observed by
several passengers-including
colonel from Military Intelligence. The
chaos ended when the UFO suddenly
zoomed straight up in the air and
disappeared. This event was also
portrayed in the movie.
a
Capt. Willis Sperry's report, in
affidavit form, was the final document
kept on file. "Since my experience," he
clearly pointed out, "I have talked to
many airline pilots who have seen
similar objects that absolutely cannot
be identified in any known type of
aircraft category due to the speed,
maneuverability and shape of the
object."
Any discussion of U.F.O. should
also make mention of the theme music.
The lively, often beautiful score heard
throughout the movie was written by
Ernest Gold (conducted by Emil
Newman) and is entitled "U.F.O.,"
according to the files of the musical
mystery. UFO research owes him a
great debt. Unfortunately, he does not
owe UFO research another great film
documentary.
U.F.O. Could there ever be another
like it?
"Possibly," the sound of the word
makes me more hopeful. "Possibly."
EVERYTHING YOU ALWAYS.
(Continued from page 35)
PK powers, and to be the spokesman
for the SIs (space intelligences).
Owens has taken credit for over 200
significant events that have made news
headlines, including the Blackout of
the east coast on November 9, 1965, the
lightning that struck the Apollo 12
mooncraft in December 1969, and
many hurricanes, aircraft disasters
and healing feats. He has the docu-
mentation to back him up on many of
his exploits.
Although he claims that the UFO-
nauts have good intentions when it
comes to the welfare of the human
race, he has also admitted that he has
(Please turn page)
57

[PAGE BREAK]

OFFICIAL UFO Feb. 1977
NOW! THE TRUTH ABOUT FLYING SAUCERS!
Combis top secret
for the first time!
This radar screen "captured" them
Over Washington, O.C.
CAN
"Caught them with his camera! This plane crashed trying to catch them!
He almost collided with one of them!
This jet fought a fantastic dogfight with one of the
SEE IT ALL AS IT ACTUALLY HAPPENED!...and is still happening!
THE MOTION PICTURE SCOOP OF THE CENTURY!
26
CLARENCE GREENE and RUSSELL ROUSE present
UNIDENTIFIED
IS MARTIN Produced by CLARENCE GREENE
LYING
OBJECTS
"UFO❞
REVISITED
With a number of UFO films cur-
rently being made or in the plan-
ning stages, we take a look back
at the first feature-length UFO docu-
mentary. This then is a tribute to
the Grandaddy of all UFO films on
this, its Twentieth Anniversary.
By Robert Barrow

[PAGE BREAK]

Most of U.F.O. concerned the official UFO
activities of Albert M. Chop. In the fifties,
he watched the UFO story In the making
with government officials; today, he has
dealings with the government's atomic
energy project.
Al Chop (Tom Towers) Is promoted to
Chief of the Press Section at Air Materiel
Command. Soon after, he is transferred to
the Pentagon and assigned to Project
Bluebook.
"I saw an unidentified object."
Clarence Greene, producer of the
1956 United Artists release, U.F.O.,
recently gave me this answer when I
asked why he decided to make the
movie. In 1956, Greene was a partner
in Greene-Rouse Productions, Los
Angeles. Today, he is President of
Tower Productions, located in the
same city.
Since U.F.O., Greene has produced
a number of motion picture features:
The Fastest Gum Alive, New York
Confidential, The Oscar, Caper of the
Golden Bulls, and others.
Because of his simply-stated reason,
Clarence Greene produced a major
motion picture dealing with the UFO
subject which surfaced in 1956, 92
minutes in duration, 8,166 feet in
length, and shot in black & white-
except for two actual films of UFOs
which were offered in their original
color.
During an August night in 1952,
Greene and a friend were' standing
outside the former's house. The friend
called his attention to an object in the
sky that looked like a "sphere of light."
For five minutes they watched the UFO
maneuver through stops and turns
until it finally sped away over the
horizon. Later, Greene learned that
the UFO had also been seen. by
members of the Ground Observer
Corps.
The producer readily admitted that
the sighting made "an indelible
KRIMIZILL
TOM TOWERS
ST SHOWN
impression on him. The next day, he
told his partner, Russell Rouse, and
the Greene-Rouse staff of the incident.
This was a harsh period of time for
sighting witnesses who made their
reports public, and now Clarence
Greene knew how others must have felt
in the face of contempt and ridicule.
"I was to learn," he explained, "that
hundreds of other sightings had been
made, with the sighters reluctant to
UNIDENTIFIED
FLYING OBJECTS
DEATH OF ASCOUNDREL UFO
Dewey J. Fournet, Jr., today: In the early
fiftles, Major Fournet was the Monitor of
the AF UFO Project. He, Chop and Rup-
pelt worked closely together.
When some of Tom Towers friends in
Detroit learned that U.F.O. was coming
to town in 1956, they arranged to have
his name put up in lights on the marquee
of the KRIM Theater. Towers recalls that
the friends owned the theater, and sent
him this photo "much to my pleasure and
surprise."
27

[PAGE BREAK]

"UFO"
REVISITED
Al Chop (Tom Towers) watches UFOs on
radar as the things continue their man-
euvers over Washington, D.C. In 1952.
The other officials are portrayed by Los
Angeles law enforcement officers, who
provided their talents to U.F.O.
NOW!
Washington, D.C. UFOs show up on radar,
surrounding "Red Dog One" jet interceptor.
PERTS
mention it for fear of ridicule. I found
myself becoming irritated at the
scoffers. I was at a complete loss to
understand why there seemed to be
such a determined effort to suppress all
news of UFOs by what seemed to be a
planned campaign of skepticism and
scoffing.
Greene decided the public should
know the facts about "flying saucers."
He began to delve into the UFO
enigma. He discovered that Albert M.
Chop, who had once been the Penta-
gon's Press Information Specialist and
handled UFO news was nearby on
the West Coast.
"I had several meetings with him,"
Greene stated. "Chop was reluctant to
talk at first. But when he realized I was
dead serious about the unidentified
28
flying object business, he gave me a
breakdown on Project Bluebook, code
name for the investigation of UFO."
Chop and certain newsmen subse-
quently arranged a meeting between
Greene and Capt. Edward J. Ruppelt,.
USAF Reserve, former Director of
Project Bluebook.
"Together," Greene continued, "we
went into a lengthy and exhaustive
study of reports, various documents
and affidavits of UFO sightings and
reports from /radar experts which, with
some heretofore top secret motion
pictures, in color, of flying saucers,
form the basis of the film.
Several months ago, Greene assured
me that there was no official opposition
to his plans to make the movie, nor was
there any from his colleauges when
they learned of this first-time event. He
had no trouble in negotiating for use of
the Montana (Mariana) and Utah
(Newhouse) UFO films, which had
only recently been de-classified and
made available publicly.
However, according to David Michael
Jacobs in his excellent book, The UFO
Controversy in America (1975, Indiana
University Press), there was official
concern going on in the background
over Greene's movie. Jacobs stated that
Capt. George T. Gregory, who became
head of Project Bluebook in April,
1956, was a UFO "debunker." He and
the Air Force were obviously very
concerned with U.F.O. Quoting
Jacobs:
"Gregory kept a file of all the
movie's reviews, notifications, and
advertisements, carefully underlin-
ing every statement that might
cause problems for the Air Force or
generate interest in UFOs. From
Richard Dyer McCann's review in
the Christian Science Monitor,
Gregory singled out the statement,
'It will almost certainly stir up a
storm of public controversy,' and
added the marginal note, 'This is
something that neither PIO (Office
of Public Information) or ATIC
would like to undergo again!'
ATIC asked (Dr. J. Allen) Hynek
(AF Chief UFO Consultant) and Air
Force officers to review the film
before its release, and asked photo
experts to compare copies of the
Mariana and Newhouse films with
the excerpts shown in the movie.
ÀTIC Chief Scientist A. Francis
Arcier met with agency officials to
(Continued on page 52)

[PAGE BREAK]

"UFO" REVISITED
(Continued from page 28)
discuss the preparation of a case file
giving the official Air Force explan-
ation for every sighting portrayed in
the film.
"When the film was released in
May 1956, the 'storm of controver-
sy' turned out to be little more than
a light mist. UFO was successful,
but it did not cause flying saucer
hysteria, criticism of the Air Force,
or more UFO reports." (pp.144-145)
Air Force concern was probably
legitimate at the time, for Greene had
gone straight to the source by getting
technical assistance from people like
Chop, Ruppelt and Dewey J. Fournet
Jr. (Fournet, as an AF Major, had been
the AF UFO Project Monitor).
Clarence Greene demanded realism
in his movie. Several key people played
their own roles. Many of the "extras"
in U.F.O. were officials or members of
the Los Angeles Sheriff's Department
who had had experiences with UFOs
and UFO reports. They offered their
cooperation by "moonlighting" in the
movie. And while it is true that U.F.O.
is a film composed of unknown actors,
there is a scene during portrayal of the
legendary 1952 radar-visual, sightings
over. Washington, D.C. where
well-known name, is involved. The
voice of the pilot of "Red Dog One,"
who is surrounded by UFOs while in
flight, is that of veteran actor Harry
Morgan, who plays Col. Sherman
Potter on the television - series,
M*A*S*H.
a
Despite Greene's painstaking con-
went through some severe changes in
cern for authenticity (even the script
the interest of accuracy-the final
of the original pages of the script),
production seems totally unlike many
U.F.O. did not "make brcks" at the
theaters. This seems to be a real
anomaly, considering the period inter-
est and enthusiasm for unusual and
science-fiction films. Why didn't
U.F.O. captivate everybody with its
enticement for real oddities?
At any rate, according to Albert
Chop in a letter he wrote me in 1966 (he
was then Deputy Public Affairs Officer
for NASA in Houston), "The docu-
mentary U.F.O. accurately portrays
my role in Project Bluebook. We tried,
and I think succeeded, in keeping the
film honest and accurate.
"Perhaps that is the main reason
why the producer and all participants
failed to realize any monetary gains
52
from the effort. According to the
books," Chop certified, "the producer
lost over a hundred thousand.
to UFO investigation. It was here that
he met Maj. Dewey Fournet of the
Current Intelligence Branch. Chop
"Maybe a little of the Hollywood worked closely with Fournet (UFO
touch would have helped."Project Monitor) and Capt. Ruppelt,,
I asked Greene why the movie lost head of Project, Bluebook. Throughout
money at the box office. Was it the months he served with the official
possible, I queried in a letter, that the project, Chop cautiously began to
country wasn't ready for the docu- accept the reality of UFOS.
mentary-like motion picture in 1956?
"It is possible," he replied, "but the
audience wasn't ready."
He had "no way of knowing" how
U.F.O. might have done if it were
filmed today instead of in 1956.
Further, Greene disclosed that he
never considered making a U.F.O.
PART II.
No matter, though, how the movie
fared at the theaters. UFO researchers
and "fans" can be grateful to Clarence
Greene for his concern with honesty in
the documentary.
"I made U.F.O. because of a simple,
but most urgent belief," Greene stated
when the movie opened in 1956, "that
the public should know the true facts
about flying saucers."
Well, what about Al Chop and
UFOś? This is the man whose
background of UFO knowledge and
work for the government in the early
fifties precipitated Clarence Greene's
efforts in making a movie about his
official UFO experiences.
Prior to Chop's assignment to the
Pentagon's UFO Press Desk, Chop
acted as Chief of the Press Section,
Headquarters, Air Materiel Com-
mand, USAF, at Wright-Patterson
AFB. At that time he wrote press
releases, unsigned articles and re-
sponses to various inquiries. These
duties were routine to the job. Among
the unsigned pieces Chop wrote was
one on helicopters which were becom-
ing popular for use in the Korean
conflict. The article saw print in
Newsweek and assorted newspapers
across the country.
Chop's opinion about UFOs at the
time was: "This whole saucer business
is pure, unadulterated bunk." He was
as confirmed a skeptic as there could
be.
However, after his promotion to
Chief of the Press Section at A.M.C.,
he began to change his mind. Chop
talked with top government personnel
who were certain UFOs existed. He
learned the government was, indeed,
vitally concerned about UFOs.
When he was transferred to the
Pentagon's Press Section, by request of
Colonel Richard Searles, Chop-much
to his surprise-was assigned directly
What caliber of UFO sightings did it
take to alter his skepticism of "flying
saucers?" One early report from 1951,
mentioned in U.F.O., was sophistic-
cated enough to make a big impression
on Al Chop. He recently recalled:
"There was a report, from General
Mills' scientists who were tracking a
large weather balloon with a theodo-
lite," Chop began. "They saw an object
descend on their balloon and make
several passes at it. When the balloon
was retrieved, it had a ten-foot dent in
its side. The report contained figures
on elevation, wind direction, and
details on the appearance and exit of
the UFO."
Considering the position Al Chop
held, enviable from the viewpoint of a
UFO researcher, it is easy to realize
how the Pentagon's Press Chief became
a believer.
"You must remember," he contin-
ued, "that I was privy to the project
files. These contained hundreds of
official reports of UFO encounters
made by military personnel from all
branches of the service. They were all
classified with a high degree of security
classification.
"Almost all of these made pretty
scary reading from the verbatim
<escriptions of the pilots concerned.
By the time Chop viewed the famous
Utah and Montana films, two years
later, his observation of them "merely
strengthened my personal beliefs and
theories on the subject of UFOs. . .I
leaned heavily toward the extraterres-
trial theory prior to viewing the
Montana and Newhouse films."
Chop described for me what it was
really like to have been on the scene
during the incredible incidents depict-
ed in U.F.O. Without a doubt, his
most hectic time with the official
project came during the classic month
of July 1952, when up to 14 UFOs (at
one time) appeared several times over
Washington, D.C. On July 20, when
the things first flew over the nation's
capital, Chop was home sleeping
through the chaos. But for the next
week his desk was bombarded with
press queries from across the country.
Then, a week later, Al Chop really
became firmly involved in UFO

[PAGE BREAK]

This is the back and spine of the dust jacket of nuha
ry. It was July 26, around
dnight; when the phone at his home
ang.
"The initial phone call was received
from the FAA Public Information
Officer at the airport (Washington
National)." The officer told Chop the
UFOs over D.C. were being tracked on
radar.
"I told him I would be there as
quickly as I could make it. After
dressing, I called Major Fournet at his
home and gave him what information I
had. I asked my wife, Dolores, to come
with me." This is one of the few points
on which the movie and reality differ.
In U.F.O. Chop (played by Tom
Towers) tells his wife "Don't wait up"
and leaves for the airport by himself.
Speeding to Washington National,
the Chops kept looking skyward,
hoping to see the objects which some
people were seeing visually. There was
nothing in sight.
any
"I was rather apprehensive, but for no
particular reason," Chop recalls. "All
reports (of previous sightings) failed to
mention hazard to the observers. I
did wonder what fate had decreed that
I would be a part of the UFO project.
"In my haste I did probably run a
few red lights or stop signs. However,
there was extremely light traffic at that
time of morning, and I made the trip in
a matter of 20 minutes or less."
The movie U.F.O., like many
written accounts of the Washington
National sightings, concerned itself
with the prominent details. I thought it
would be interesting to ask Chop about
the lesser known, obscure factors of his
arrival at the airport.
"Well," he went on, "a routine
evening in an airport traffic control
center can best be described as
exceedingly monotonous...at least
back in 1952 when most airplanes were
slow prop jobs and air travel was not at
its heyday. The military planes had
their own airport facilities and were not
using Washington National runways
except on special occasions. So, there
usually was very little conversation
among tower personnel except the
routine conversation. . .and the usual
low-key conversation between con-
⚫trollers and aircraft pilots flying in
their vicinity.
But, true to the setting of the motion
picture which dramatized this summer
night in 1952, "The atmosphere.
was 'electric.' Everyone was aware that
something unusual was going on.
"There were at least a dozen news
media representatives on hand. They
were confined to an ante room outside
the radar room. They were all
clamoring for access to the radar."
Chop immediately gave permission for
the newsmen to watch the unknowns
on the radar scope. "So, we had a
mixed bag of reporters, including
photographers, government personnel
and airport control operators. Major
Fournet arrived soon after I let the
reporters into the room.'
In U.F.O., Chop is seen to refuse
reporters access to the radar, which is
inaccurate, though news personnel
were asked to leave during intercept
attempts, as was Mrs. Chop.
I asked Chop how everyone in the
scope room felt when one of the
pursuing pilots (Red Dog One) was
surrounded by UFOs visually and on
radar. Was there a sense of helpless-
ness or disbelief?
"Disbelief...No! Helplessness..
Yes!" he insisted. "As we looked up at
each other while watching that inter-
cept attempt, you could imagine each
of us trying to think of something that
would be helpful.
"I might also add there were no
disbelievers around that scope. We all
knew these objects represented some-
thing with which we could not cope."
All of this happened for several hours,
while the radar room was in constant
contact with the radar personnel at
Andrews AFB (where UFOs were
simultaneously tracked on radar).
"These people were as apprehensive as
we.
Skipping ahead to the present year, I
asked Chop if his views on UFOs had
changed since 1956, when the movie
portrayed him as accepting the extra-
terrestrial theory for UFOs.
"I have not changed my theories on
this subject as expressed in the film,
except to consider the possibility that
these objects could originate from
another dimension in time and space.
"It does seem improbable that
physical objects can travel the vast
distances between star systems in a
profitable time span. ..as we measure
time and longevity here on our planet
Earth." Chop has apparently done
some thinking in this realm; he has
discussed, for example, various theor-
ies on what happens to dying stars that
eventually become "holes" in space,
with top physicists.
Clarence Greene indicated in 1956
that Chop was reluctant to assist with
U.F.O. Chop bears this out.
"When first approached about
helping with the documentary back in
1954, I was extremely wary about
getting involved. However, in subse-
quent discussions with Greene and
Russell Rouse, I became convinced
they really wanted to do an unbiased,
objective documentary that would shed
some light on this subject for the
general public.
"A secondary, yet very important
objective, was to try to stimulate more
interest in UFOs among the scientific.
personnel in our country.'
Did you like the finished product?
Any regrets about the movie?
"I continue to have mixed emotions
concerning our efforts. I think we did
make a contribution. . .but we didn't.
achieve our goals. I am reminded of
this every time I meet up with, or read
about, an individual who flatly states
there is nothing to the subject.
"One wonders," Chop considers,
"what it will take to get people on
Earth vitally interested.
"I wince when I think of the cost of
the University of Colorado's 'Condon
Study.' It is so damn obvious to anyone
involved in the project that the
'findings' are nothing but a calculated
farce. But why? Somewhere, there's a
reasoned motive I will never under-
stand."
Drawing again on his own experi-
ences with the official UFO investiga-
tion, Al Chop commented on a couple
of names which are familiar to many
UFO researchers.
"It was interesting to observe from
the sidelines how Dr. Robert L. Baker
changed 180 degrees from a disbeliever
to one embracing the extraterrestrial
theory as a result of his study of the
Montana and Newhouse films. In
similar fashion, it was interesting to
observe the change in Allen Hynek. I
met him many years ago when his
primary mission in the project seemed
to be that of casting discredit on all
those who reported UFO encounters."
Chop finally left the Press Desk at
the Pentagon "because it was apparent
the lid was back on the project and I
don't believe in working in a vacuum."
Nor did he like working in the
Washington, D.C. area.
His only recent efforts on the UFO
subject went into the syndicated TV
documentary, UFOs: Past, Present
and Future, presented by Allen Sand-
ler. Chop had not seen the feature, but
heard from various people that it was a
"good effort."
"Clarence Greene and Russel Rouse,
as well as Allen Sandler, all lived up to
my expectations as well as their own
word concerning film documentaries. I
have no regrets over being part of their
(Please turn page)
53

[PAGE BREAK]

This is the back and spine of the d
sought out people and events that had
the means to lend authenticity. For
instance, even though the Newhouse
(Utah) and Mariana (Montana) films
had been shot in color-and U.F.O.
was filmed in glorious black and
white-Greene insisted on showing the
UFO movies in their original color.
Therefore, every point of U.F.O.
contains color sections just to accom-
modate these films.
It might be argued that Clarence
Greene left very little to chance in his
selection of convincing UFO events.
What better form of documentation
could there be than to include an
interview with a commercial airlines
pilot who, with crew and passengers
aboard, actually encountered a UFO
while in flight?
Greene located an American Air-
lines pilot who was still on duty with the
company. His name was Capt. Willis
T. Sperry ("Doc" Sperry, as he is
known to his friends).
Sperry had made an important UFO
sighting on May 29, 1950, at about
9:30 in the evening. There was
unlimited visibility, and Sperry's Am-
erican Airlines flight was 60 miles
southwest of Washington, D.C., head-
ed for Nashville, Tennessee. His
aircraft was flying at 7,500 feet.
Sperry (who retired from American
in April, 1971, after 32 years of service)
was about to make UFO history. A
UFO came into view.
"I was turned around in my seat at
the moment it appeared, getting a map
out of a briefcase. My co-pilot called out,
'What is that-look out-it's coming
right at us.' Sperry outlined what
happened next.
"I made an immediate right turn
from a heading of approximately 230
degrees to 320 degrees.
"The object was a very bright
shimmering blue light. We were very
interested in ascertaining its distance
from us.'
As Sperry levelled off in flight, the
UFO appeared to stop in the sky.
"As I look back on this incident I
recall that, at the time, it did not occur
to me that I was seeing an object called
a UFO. It was a very puzzling sight.
By the time the UFO appeared to stop,
the stewardess and eight passengers
had seen the light, along with Sperry,
the co-pilot and the flight engineer.
The object remained stationary for
about 30 seconds before it began
moving again. "At this time," contin-
ued Sperry, "I started a left turn to
keep it in view.
56
"There was a full moon in the
eastern sky; the object passed between
us and the moon, and I got a definite
silhouette of it. It appeared cigar-
shaped, with no external (characteris-
tics) protruding from it.
"It circled around behind us and
appeared on our right, where it again
came to an apparent stop. How far was
it from us? I will take a guess that it was
five miles away. We really had no way
of judging its distance.
"After about 20 to 30 seconds,'
Sperry relates, "it started moving
eastbound, climing at about a 30
degree angle. We watched it until it
disappeared.'
For this interview, "Doc" Sperry
surprised this writer with further
information on his sighting-data that
is not generally known even to.veteran
researchers."
"An eastbound American Airlines
DC6 between Nashville and Knoxville
at 19,000 feet, headed for Washington
and flown by Capt. Henry Myers,
observed what appeared to be a
brilliant shooting star falling eastward
from the zenith.
"When it got to the horizon it
stopped. They watched it for seconds
as it seemed to move horizontally, then
it disappeared.
"I talked to Myers after the incident
and we correlated the time of my
sighting with his, and it was exactly the
same time.
Myers told Sperry that what was
most interesting was the fact that
don't
"shooting stars"
stop and
change direction!
"His aircraft was 450 nautical miles
to the soutwest of us," Sperry contin-
ued.
"I have been reluctant to report this,
as he asked me at the time to please
keep his sighting out of the news. He is
now deceased. Capt. Henry Myers was
the pilot of the Sacred Cow, which flew
President Roosevelt during World War
II," Sperry added. (I double-checked
with Sperry to make sure he wanted
this information released now; he did,
and I'm glad.)
Thus, Clarence Greene invited Sperry
to tell his story in U.F.O. The interview
took place at L.A. International
Airport.
Now, twenty years later, Willis
Sperry is in partnership with another
man, and he's still in the "flying
business," though from a different
point of view. Instead of just piloting
assorted aircraft, Sperry now sells
them, at his Orion Aircraft, Sales
Company (Van Nuys, California).
Sperry was asked if he recalls
receiving any public reaction or any
reaction from American Airlines after
his interview in U.F.O. appeared
across the nation. "The public reaction
at that time," he indicates, "and from
American Airlines, was genuine inter-
est."
Sperry confirms that no particular
physical effects resulted among any-
body on the plane during or after the
UFO sighting.
"I had no idea that this sighting
would generate so much interest," he
confesses. "Almost everyone seemed
genuinely interested in what
saw. I
had several interviews with Air Force
Intelligence personnel from Washing-
ton.
"American Airlines expressed only
interest in what I saw and never issued
any censorship orders to me."
In the Greene-Rouse movie, Sperry
was asked, "Have you ever seen any
similar object, Captain?" He replies,
"Never before or since." He feels the
same today.
"Although I observe probably more
than the average layman for any
unusual phenomena, I have never seen
anything since then."
Willis Sperry. Like so many pilots,
he believes UFOs are more than
products of the imagination.
What is your opinion of UFOs in
1976? I asked in conclusion.
"I am very much of the opinion that
there is some extraterrestrial phen-
omenon that has not been explained,"
he advises. He believes that the
findings of Erich von Daniken (Chari-
ots of the Gods?) are very convincing.
But Sperry bases his belief on other
events-like sightings by people who
know about things that fly-on the
Earth and beyond.
"The sightings by Apollo flights to
the moon should convince most
skeptics that this old Earth has been
visited in the past as well as the
present.'
Willis Sperry. In many ways, he
unintentionally acts as a spokesman
for many pilots whose views on UFOs
are similar to his own.
Willis Sperry. Another reason why
U.F.O. can truly be classified a
documentary.
All the good, sincere people-all the
documentation-all the time and all
the planning came to fruition in May
1956, when U.F.O. was released by
theaters around the world. Movie
rèviews were generally kind, often
ecstatic. Columnist Louella Parsons
wrote:
"Hollywood is talking about the

[PAGE BREAK]

edible interest expressed by fans Office Branch, Deputy Chief of Staff, society, A.S.C.A.P. It's one of those
tions..
be produced under simulated condi-
d those in the industry over the flying Intelligence USAF) stated that the
aucer film...made by Clarence Newhouse Utah UFO film "could not
government's knowledge. It actually
shows pictures of the saucers and is
Greene and Russell Rouse with our
attracting front page and editorial
are is still a mystery.
attention although what the saucers
From Variety: "An authentic beat!
Interesting, informing and important!
Gripping climax! Should register
well!"
And the movie did register well, but
not as well as it should have. The
documentary approach just didn't go,
over as attractively as the producers
had planned. Why not, is anybody's
irrelevant at this point, anyway.
guess, and the whole question is
Greene-Rouse went to great lengths
to support their motion picture with
facts. Every document that would back
up the story line was placed in the
custody, of a Los Angeles insurance
company and made available for
public inspection.
Among the documents on file was a
weather chart which reported atmos-
pheric conditions over Washington,
D.C. during the July 1952 sightings.
The chart reportedly proved that the
radar pick-up of UFOs could not be
attributed to temperature inversions.
Also on file was a transcript of General
Samford's Pentagon press conference
held after the July 26 sightings.
A wire from Al Chop was likewise on
display in which he said: "I AM
TELLING THE TRUE FACTS TO
THE PUBLIC FOR THE FIRST
TIME IN YOUR MOTION
PICTURE.
Capt. Edward Ruppelt, USAF Re-
serve, also had a wire on file, and he
stated: "I HEREWITH CONFIRM
THE AUTHENTICITY OF THE
FACTS AND INCIDENTS DRAMA-
TIZED IN YOUR
PLAY..."
SCREEN-
Maj. Dewey Fournet submitted a
statement to Greene-Rouse, also kept
on file: He certified that the part of the
script dealing with his role was
factually correct and true to the best of
my knowledge.
11
Delbert C. Newhouse and Nicholas
Mariana each placed statements on file
regarding their UFO films. The
Newhouse film contained up to 12
unknowns; the Marlana film, two.
Some of the documents on file were
as much of an anomaly as the UFOs.
Part of an official press statement
prepared by Albert Chop and Colonel
At the same time, this press
statement "was cleared by Col. Adams,
Chief of Current Intelligence, and also
Services." Then, the puzzler:
by the Air Force Office of Information
"At the last moment," the statement
continued, "this press statement was
killed by Col. Teaburg of Air Force
Intelligence." Assuredly, the military
works in strange ways.
However, Col. Adams sent a letter to
Newhouse, telling him that his UFO
film "still remains one of the most
interesting incidents we have investi-
gated.
The full report of Thomas Mantell's
death while chasing a UFO was also
placed on view.
The Gorman case of October 1948,
dramatized in U.F.O., was on file,
containing information on a blinking,
white light that made a pass at the
Fargo, North Dakota, Air Base tower.
Lt. Gorman,coming in for a landing,
dove at the light and chased it for 27
minutes while several observers watch-
17
ed the "dogfight." Substantiating
witness reports were on file.
Another official report, from Janu-
ary 1951, was in the hands of the
insurance company. A Mid-Continent
City (Iowa) Airport. As it climbed for
Airlines DC3 had taken off from Sioux
altitude, an unidentified light closed
in. The object made a head-on pass at
the DC3, which swerved to avoid a
collision. The incident was observed by
several passengers-including
colonel from Military Intelligence. The
chaos ended when the UFO suddenly
zoomed straight up in the air and
disappeared.. This event was also
portrayed in the movie.
a
Capt. Willis Sperry's report, in
kept on file. "Since my experience," he
affidavit form, was the final document
clearly pointed out, "I have talked to
many, airline pilots who have seen
similar objects that absolutely cannot
be identified in any known type of
aircraft category due to the speed,
maneuverability and shape of the
object.'
Any discussion of U.F.O. should
also make mention of the theme music.
The lively, often beautiful score heard
throughout the movie was written by
Ernest Gold (conducted by Emil
Newman) and is entitled "U.F.O.,"
scores that, if put into an LP album (as
so many movie scores are these days),
might be very successful.
Where can U.F.O. be found these
days? Actually, the motion picture can
be obtained for special showings (or by
TV stations when purchased in a
"package"). Write the following for
information, and don't fear the price of
rental-group showings can be ar-
ranged for around $70.00 per viewing:
UA Sixteen, 729 Seventh Avenue, New
York, N.Y. 10019.
"Unidentified Flying Objects."/
Clarence Greene.
Maybe if the two of them had made
acquaintances today, instead of 1956,
the movie would have the same
shattering effect on audiences that
recent films like Chariots of the Gods?
have had.
Strange, really. Way back in Decem-
ber '75, I wrote Clarence Greene and
asked a question that was special to
me.
Considering how public interest in
UFOs has become more heightened
and sophisticated over the years, would
you ever consider making another
UFO film documentary? Green's reply
consisted of just one word.
"Possibly."
One contemplates what wonders
Clarence Greene might work with an
updated documentary on the UFO
mystery. UFO research owes him a
great debt. Unfortunately, he does not
owe UFO research another great film
documentary.
U.F.O. Could there ever be another
like it?
"Possibly," the sound of the word
makes me more hopeful. "Possibly.
EVERYTHING YOU ALWAYS.
(Continued from page 35)
PK powers, and to be the spokesman
for the SIs (space intelligences).
Owens has taken credit for over 200
significant events that have made news
headlines, including the Blackout of
the east coast on November 9, 1965, the
lightning that struck the Apollo 12
mooncraft in December 1969, and
many hurricanes, aircraft disasters
and healing feats. He has the docu
mentation to back him up on many of
his exploits.
Although he claims that the UFO-
nauts have good intentions when it
comes to the welfare of the human
race, he has also admitted that he has
(Please turn pagal
E

[PAGE BREAK]

This is the back and spine of the dust jacket of Keyhoe's book.
OF
DEFEN
DEPARTMENT OF DEFENSE
OFFICE OF PUBLIC INFORMATION
WASHINGTON 25, D. C.
Henry Holt & Company
383 Madison Avenue
New York 17, N.I.
26 January 1953
Dear Sirs:
This will acknowledge your letter of recent date regarding
a proposed book on "flying saucers" by Major Donald E. Keyhoo,
U. S. Marine Corps, retired.
We in the Air Force recognize Major Keyhoe as a responsible,
accurate reporter. His long association and cooperation with the
Air Force, in our study of unidentified flying objects, qualifies
him as a leading civilian authority on this investigation.
All the sighting reports and other information he listed have
been cleared and made available to Major Keyhoe from Air Technical
Intelligence records, at his request.
The Air Force, and its investigating agency, "Project Bluebook,"
are aware of Major Keyhoe's conclusion that the "Flying Saucers" are
from another planet. The Air Force has never denied that this
possibility exists. Some of the personnel believe that there may
be some strange natural phenomena completely unknown to us, but that
if the apparently controlled maneuvers reported by many competent
observers are correct, then the only remaining explanation is the
interplanetary answer.
Very Truly Yours
Albert M Chop.
Albert M. Chop'
Air Force Press Desk
FLYING SAUCERS from outer space
KEYHOE
While Chop is mentioned in a couple of Keyhoe's books, virtually nothing about
the man is in those mentions aside from his approximate age (30's). See the
entry from Margaret Sachs book for personal info.

[PAGE BREAK]

THE FIFTH HORSEMAN OF THE APOCALYPSE
UFOS: A HISTORY
1956: JANUARY-APRIL
by
Loren E. Gross
Copyright © 1993
Fremont, CA

[PAGE BREAK]

17
77
23 April. "Hollywood's best kept secret?"
For the vast majority of UFO buffs the Greene-Rouse production of the
motion picture U.F.O. was a complete surprise. The film had been completed
over a three year period without a mention in Hollywood gossip columns
trade papers, or even in the many newsletters published by UFO groups; in
fact the Daily Variety would later call the film "Hollywood's best kept
secret."
There was a pre-release screening for the press at Goldwyn Studio's pro-
jection room "A" on the afternoon of April 23rd. Max B. Miller, head of
Flying Saucers International of Los Angeles, managed to get a seat, thus
becoming the first UFO enthusiast to see the finished product (Ted Eloecher,
Research Director, Civilian Saucer Intelligence of New York, attended a
special preview for the east coast market on May 9th).
Both Miller and Ploecher had mixed reactions to the film. Miller was
especially impressed with the names in the film credits which listed the
following people 'as technical advisors: Major Dewey Fournet, Jr., USAF,
former liaison officer between Project BLUE POOK and the Pentagon; Edward
J. Ruppelt, former Chief of PLUE FOOK; and Albert M. Chop, former Chief,
press section, Air Material Command. Fournet and Ruppelt even played
themselves in the movie!
The plot line followed the UFO story from the 1947 Kenneth Arnold sight-
ing, to the hashington D.C. "crisis of July 1952," although there was some
emphasis on the activities of Al Chop who was an Information Specialist for
the military in the early 1950s and how he gradually converted from a UFO
doubter to a believer.
A number of classic UFO cases were re-enacted, like the 1948 Lt. Gorman
aerial dogfight with a mysterious light, and the puzzling radar targets
that "invaded the airspace over the nation's capital during the summer of
1952.
11
Max Miller voted the Mantell re-enactment the most exciting since there
was more of an attempt to utilize obvious theatrics.
For Ted loecher, he found the Washington D.C. radar episode the most
fascinating, particularly that part where the strange blips close in on a
jet interceptor piloted by Lt. William Patterson.
Both Miller and Ploecher agreed that the motion picture's piece de re-
sistance was the footage of "real" UFOs as shown in the famous Montana
and Utah films. The short films were run repeatedly, in both normal speed
and slow motion. Furthermore, occasional frames were shown enlarged for
closer inspection. 87.
A narration at the end of the movie says:
"The motion picture you have just seen is authentic. It is sub-
stantiated by documentation, eye-witness accounts, supported by
affidavits and official Government reports. The evidence has
been presented to you with integrity and objectivity to establish
the fact that unidentified flying objects...do exist. Some kind
of flying object have been photographed in the sky. If they can-
not be identified as objects known to man --what are they? If
they are not man-made --who made them? If they are not of this
planet where are they from?" 88.
25 April. Covina, California.

[PAGE BREAK]

78
the
mpleted
mns,
s; in
kept
o's pro-
ad of
thus
loecher,
ed a
was
1 the
SAF,
Edward
ief,
d
sight-
some
ist for
a UFO
Gorman
ets
er of
there
most
on a
re-
a
speed
for
Producers Call Movie
Flying Saucer 'Proof'
HOLLYWOOD UP A movie club, at the ballpark Aug, 15, 1950.
made as a documentary type It shows two white spherical ob-
story of the flying saucer contro-jects moving laterally and at the
versy is scheduled for release same distance from each other.
¡May 9.
Clip No. 2 was photographed by
Producers Clarence Green and Navy Chief Photographer Delbert
Russell Rouse said at a press pre-C. Newhouse on the Utah desert,
view yesterday that the film July 2, 1952. It shows a dancing
brings out "one indisputable fact, formation of from 7 to 16 white
that flying saucers are here. spots.
However, Air Secretary Quarlesj The picture says the Pentagon
announced last October that an decided these objects were neither!
eight-year Air Force investigation aircraft, balloons nor birds and
of nearly 5,000 sightings produced classified them officially as "un-|
"no evidence of the existence of known."
the popularly termed flying sau-| The movie centers around the,
cers." The AF said all but 3 per story of A. M. Chop, who as a pub-
cent were identified..
lic information specialist was as-
The 90-minute movie, "Unidenti signed to the flying saucer study
fied Flying Objects," is pegged to by the Pentagon and the Air Ma
what are described as official teriel Command. The part of Chop,
Pentagon film clips of unidenti- is played by Tom Towers, avia-
ified objects in flight. The production writer for the Los Angeles,
jers declined to say how the Pen- Examiner. Chop is now a public
tagon shots were released to them. relations man at Douglas Aircraft,
Clip No. 1 was taken by Nicho- Co.
las Mariana, general manager of
the Great Falls, Mont., baseball

[PAGE BREAK]

S
k
a
79
79
E
-1.
THE CAR
TRUTH
ABOUT
FLYING
SAUCERS!
YOU WILL SEE THEM
WITH YOUR OWN EYES!
Actual color films of the
Unidentified Flying Objects
that have been kept "top" secret"
until now!
P
THE MOTION PICTURE SCOOP OF THE CENTURY!
UFC
CLAUNCI GRENS and BOUS wat
UNIDENTIFIED FLYING OBJECTS
Written by FRANCIS MARTIN Produced by CLARENCE GREENE
With the people we actually lived the story of UFO
STARTS WEDNESDAY
AIR CONDITIONED
Loew's
COLUMBIA
'F St. at 12th-RE. 7.1000
Dwacled by WINSTON JONES
Released thru United Artists
ADDED ATTRACTION
MARK STEVENS in
TIMETABLE

[PAGE BREAK]

ASP
FA - x
80
CLARENCE GREENE and RUSSELL ROUSE
present
"UNIDENTIFIED FLYING OBJECTS"
Written by Francis Martin
Produced by Clarence Greene, Directed by Winston Jones
RELEASED THROUGH UNITED ARTISTS
CREDITS
m
953
Presented by
Produced by
Directed by
Written by
Associate Producer
E
Film Editor
Photographed by
A
...Clarence Green and
Russell Rouse
.Clarence Greene
Winston Jones
.Fernando Carrere
..Francis Martin
.Chester Schaeffer, A.C.E.
..Howard A. Anderson,
Ed Fitzgerald (Northwestern Locations)
Bert Spielvogel (Eastern and Southern Locations)
Assistant to Producer
Music by
Conducted by
..Paul Stone
Associate Editor
Sound Recorder
Rerecording Mixer
Music Mixer
A GREEN-ROUSE PRODUCTION
.Ernest Gold
.Emil Newman
.Stefan Arnsten
.Hal Overton
.Buddy Myers
.Vinton Vernon

[PAGE BREAK]

18
KEKRE
YSA
OFFICIALS AND MILITARY PERSONNEL concerned with national defense view flying saucer
menace as quite real, although U. S. government wants public to believe no such thing exists.
Saucers are motivated by unknown, unseen power. Americans have died while trying to catch
them!

[PAGE BREAK]

78
The News
Jets Couldn't Find Them
AIR FORCE AFTER
D.C. SAUCERS
AIR FORCE SENDS ITS FASTEST JETS up to chase flying saucers, but it wants you to believe
there is no such thing. Since when has the Air Force taken up the pastime of chasing mirages?
a
LIRK

[PAGE BREAK]

83
GRIM-FACED Air Force officers watch intently at screening of motion picture evidence on
flying saucers. To these men, saucers are obviously more than idle talk.

[PAGE BREAK]

ated
Earth,
te of
am, among
Diana
T, or in
people
egitimate"
ing. One
pposed to
one for-
lar opera-
he had
other UFO
perienced
Opasses
[c paint-
by the
who
rkin
for who
who
Ess to
man lost
committed
ors and
nad been
ment:
Ling
Lact
in
of
lore the
(It
28 April. Meanwhile, in New York.
86
98
Although newsman Frank Edwards had done plenty of talking about UFOs on
T.V. and over the radio, he had never given a live lecture on the subject
until April 28, 1956, when he faced the membership of the group Civilian
Saucer Intelligence of New York. Edwards told the saucer buffs he wasn't
an "UFO expert" but did claim to be a news reporter who was trying to under-
stand a complex, confusing, and aggravating mystery.
answer period stands out:
His talk covered familiar territory,yet one query during the question and
Question: "Is there any evidence that any of these have crashed?"
Answer: "I'm not too sure that some of them haven't. Way back in
1947, at Roswell, New Mexico, a farmer reported that he
saw something strike a mountainside and crash. According
to what I was told, they put troops in a circle all around
that place, and would let nobody in for five days. Finally
they came up with a picture of a man holding a little crum-
pled kite with aluminum foil on it--a radar target -- and
they said this was it--believe it or not. There have been
rumors since then of saucers having crashed. I don't know
whether there's any truth in them." 94.
The movie UFO and the Air Force's battle plan.
Unable to block the release of the announced UFO film, the Air Force,
with BLUE BOOK chief Captain Gregory in charge, took steps to neutralize
any undesirable effect the Green-Rouse picture might have on the American
public (The fact that Capt. Gregory took over from Capt. Hardin at this
time as BLUE BOOK chief is something to ponder. Perhaps Capt. Gregory
was considered better suited to the military's battle plan)
As historian Dr. David Jacobs correctly pointed out, the movie U.F.O. was
terpretation.
really a semi-documentary which left room for many opportunities for in-
sults.
One can see why the military was anxious to review the re-
We know that selected ATIC officers, including BLUE BOOK scientific
advisor Dr. J. Allen Hynek, were assigned the duty of attending pre-re-
lease screenings, evidently to see how the military was portrayed and
to what extent UFO incidents were sensationalized.
Because the Montana and Utah film clips were critical, Capt. Gregory
asked ATIC's photo experts to compare the Air Force's footage to those
frames used in the Hollywood production.
A flood of inquiries from the public about UFOs was expected, so ATIC's
top scientist, A. Francis Arcier, supervised the compiling of complete
case files on every UFO incident mentioned in the movie. For the most
part, however, the ATIC people assumed that a standard handout referring
curious citizens to Special Report #14 was sufficient.
color
S sup-
After the movie U.F.O. was released to the theaters, Capt. Gregory made
every effort to collect reviews of the film by critics, as well as the
advertisements promoting the Green-Rouse picture. UFO buffs may believe
that the movie was a threat to the Air Force because it helped prove that

[PAGE BREAK]

87
The
UFOs existed, yet we have evidence of Capt. Gregory's true concern.
BLUE BOOK chief underlined certain words in the material he gathered and
he singled out one statement in particular in a film review by the Christ-
ian Science Monitor's Richard Mc Cann. The Monitor writer predicted that
the film U.F.O. :"...will almost certainly stir up a storm of public contro-
versy. 95. Capt. Gregory commented: "This is something that neither
PIO or ATIC would like to undergo again!" 96. The BLUE BOOK chief feared
an uproar:"...similar to that which the USAF was subjected to in 1952 with
regard to UFOs as a result of the unwarranted sensationalism generated by
so-called 'UFO experts,' writers, and publishers." 97.
11
Did Capt. Gregory's worry over a possible "storm of controversy" really
involve the question of UFO reality, or did it involve the Russian men-
ace? The inclusion of "1952" by Capt. Gregory brings to mind the Robert-
son Panel recommendations. The Air Force, certainly, did not want a fly-
ing saucer scare the summer of 1956 on the scale of the 1952 excitement. A
flap of such intensity would again cripple America's Air Defense network
and this time the Russians had the bombers and the bombs to kill half the
population of the United States in one afternoon.

[PAGE BREAK]

74. Durant, F.C. Report of Meetings of Scienific Advisory Panel on Unidenti-
fied Flying Objects. Convened by the Office of Scientific Intelligence,
revisions of the Senator Russell sighting report) p.20.
CIA. January 14-18, 1953. (This is the OSI group responsible for the odd
75. Phoenix, Arizona. The Arizona Republic. 26 March 56.
41-42.
77. Flying Saucers. Issue #27.
76. Saucer News. Vol.III, #3. April-May 1956. p.4.
FS-13. ed. Ray Palmer. December 1956. pp.
78. Hynek, Dr. J. Allen. The Hynek UFO Report. p.25.
1957. p.123.
79. Miller, Max B. Flying Saucers. Trend Book #145. Los Angeles, Calif.,
80. Ibid.
81. Flying Saucer Review. Vol.2, #3. May-June 1956. p.24.
Series 8, #42. p.7.
82. MUFOB INTCAT. Part 13. Compiled by Peter Rogerson. Autumn 1977. New
84. Hynek, Dr. J. Allen.
83. Hall, Richard and Charles A. Manley. The Challenge of Unidentified
85. Fuller, John G.
Flying Objects. Washington D.C.: Privately published, 1961. pp. 13-14.
The Hynek UFO Report. p. 238.
1969.
p.152.
Aliens In The Skies. New York, N.Y.: Medallion Books,
86. Detailed accounts of Dr. Baker's studies are available to the public:
uary 1968. pp. 31-36.
Baker, Robert M.L. "Observational Evidence of Anomalistic Phenomena.'
The Journal of the Astronomical Sciences. Vol. XV, No.1. January-Feb-
Baker, Robert M.L. "Statement of Dr. Robert M.L. Baker, Jr., Senior
partment of Engineering, UCLA."
Scientist, Computer Sciences Corp.; El Segundo, Calif., and Faculty, De-
Symposium on Unidentified Flying Objects.
Hearings before Science and Astronautics U.S. House of Representatives. 29
July 1968. U.S. Government Printing Office, Washington D.C. Reproduced
by National Technical Information Service. pp. 126,138-141.
ing Two UFOs." Douglas Aircraft. March 1956.
Baker, Robert M.L. "Photogrammetric Analysis of the 'Montana' Film Track-
Includes:
BLUE BOOK.
3a. 1950 Interrogation of pilots of reported F-94s by project
3b. 1950 - Two sources of weather data: 'weather maps, and half
Falls Municipal Airport.
hourly surface observation by Weather Bureau at Great
(1955)
3c. 1955 Telephone conversation: R.M.L. Baker to witness I, March
3d. 1955 Correspondence: R.M.L. Baker to Col. D.M. Hamilton, Com-
anding Officer, Malstrom AFB, November.
Saucer Review. Vol. 2, No.3. May-June 1956.
87. Miller, Max B. and Ted Bloecher. "Official Saucers Screened." Flying
88. Ibid.

[PAGE BREAK]

and the material sacrifices he has,
made in order that the company exist
like a family
His assets include an extraordinary
energy, an unceasing desire to learn
and grow, a quick sense of humor
which takes the nurse off the preten-
Liousness which goes with a dedication
to the theatre, and a melancholy
warmth which if not kept under con-
trol could destroy him. He is one of a
kind, as is his company, and no one
who loves THE THEATRE can afford
not to see them
G
ILBERT and SULLIVAN sa spe-
ctal world, where the charm la of
the 1850's but where the satire seems
to be eternal The S M Chartock
Company with the aid of former
D'Oyly Carter Martyn Green has in its
initial offering. "The Mikado" concen-
the former, and the
trated more on
result is an evening which is sleepy
and slow, if mildly pleasant, during
much of its course The handicap of
working in the mammoth Mark Hell-
inger Theatre, where the actors appar-
ently cannot use the frontmost section
of the stage, tends to weaken further
the concentration of Gilbert's wit. This
leaves as the orly assets a pleasingly
costumed, articulately vowed cast and,
of course, the never-to-be-underesti-
mated caprices of Mr Green This
nonpareil of rubber-legged buffoon-
ery, wearing a sea-piganic makeup.
is so quiet, sure and versatile as to
keep the rest of the cast in awe Per-
haps when this awe wears off the new
company will pick up some vigor and
acting balance so that audiences will
be laughing at W S Gilbert as much
as it is at the world's leading Savo-
HESTY HIWTS
vard
Stage Ifs & Buts
COMING TO TERA English and Ameri-
can seem to be the same language until
you pick up a dictionary of the col-
loquialisms used within a particular
profession. Wefred Granville's "Thea-
Dictionary (Philosophical Li-
brary $5) contains a great many ex-
pressions culled from both sides of the
water, but is quite naturally, pre-
dominantly Brush For instance, he
includes the information that Robert
Donat is nicknamed Bobby Dough-
nut by his old Bensonian cronies, but
fails to mention that a Kazan's
friends call him Gadge Mr Granville
is also foolish enough to include defi-
nitions of such ecumenical words as
"bad" and "bobby pin," and occasion-
ally is just plain wrong as in his defi-
nition of "pong" which actually means
to stress a line hard, as opposed to its
antonym "ping" which means to hit
the speech very softly -H.H.
SR Goes to the Movies
AWFULLY DAMNED QUIET IN HERE
-From The Thief'
Ray Milland and Rita Gam changes his mind at the climax."
QUARTER of a century ago.
when "talkies" were the novelty
of the day, the movie houses
lured passers-by with the promise of
100 per cent all-talking" pictures.
Today the wheel has turned full cycle
round The Thief' (United Artists)
makes its bid for patronage as the first
100 per cent non-talking picture. And
it is good to be reminded how effective
silence can be from time to time, how
fully an inner conflict can be re-
flected in a tiny gesture, the eloquence
of an inanimate object shown in close-
up. The master directors of the silent
film developed to a fine point this art
of saying much with a minimum of
words, of letting their cameras speak
for them. Unfortunately. Clarence
Greene and Russell Rouse in creating
The Thief, while ostensibly going
back to silent techniques, have failed
to grasp that one essential quality
They have instead prepared a story in
which no one. we are asked to be-
lieve, is ever in the position of having
to speak. Which means that the sound
camera must be used very much the
same as in any other talking picture.
There just isn't as much for it to listen
to.
"The Thief presents Ray Milland
as an atomic scientist in the Govern-
ment's employ who, somewhat un-
willingly, passes along top secret in-
formation to the agents of an unnamed
(though reasonably obvious) foreign
power. Martin Gabel, his contact with
the opposition, signals Milland into his
presence by ringing the telephone
three times, then hanging up. (If Mil-
land had ever once answered that
phone, of course, the whole trick
would have been rulned.) The meet-
ings between the scientist and the
agent are equally silent. Gabel waits
on a shadowy street until Milland ap-
pears, then tosses a cigarette wrapper
containing the instructions on the
sidewalk
Milland furtively sweeps it into
his pocket and goes his way. His
secrets are delivered in the quiet of
the Library of Congress. Eventually,
however, their plans go awry. One of
the innumerable contacts used to pass
information along from Washington to
the International Airport is run down.
his inlerofilms discovered by the FBL
Milland must go into hiding, then Into
full flight from the pursuing detec-
liver
Much of this makes for good, excit-
Ing cinematic action. Milland's Inde-
cision, his unwillingness to continue
n spy are conveyed effectively
enough through silence. Later in his
shabby hideout Milland paces the floor
In a frenzy of fear: the camera inten-
sifies his claustrophoble panie. And
the flight itself. strikingly photo-
graphed In the New York subways,
the city's streets, the tower of the
Empire State Building, comes off ex-
tremely well-as movie chases gen-
erally do. But because the script In-
nists on keeping its people apart from
revealing themselves through sprech
we are never permitted to understand
the motivations of any of them.
Speaking of allent pictures, there
must still be a few old fans around
who can remember the 1922 version
of "The Prisoner of Zenda," which
served to introduce to the screen a
young, volatile Ramon Novarro as the
villainous Rupert of Hentzau while a
dashing Lewis Stone played the dual
roles of Rudolf Ratsendyll and King
Rudolf V of Ruritania. In M-G-M's
current Technicolored reincarnation
(actually the fourth time around for
the venerable Anthony Hopa ro-
mance), Stone is again present, now
stately in Cardinal's robes, but the
lends have been assigned to a younger
generation.
Stewart Granger does the roles of
both Rudolfs, James Mason--as punc-
tillously evil as Erich Von Strohelm
ever was-plays Rupert. Mason glow-
ers and
mirks incessantly while
SR Recommends
Limelight: Chaplin's new film, halled
by some as a masterpiece, criticized by
cibers as sentimental and banal, but
well worth seeing at either evaluation.
(SR Oct. 25.)
The Magic Box: A polystellar blogra-
phy of the Mr. Chips who invented mo-
flea pletures (according to the English).
(SR Oct. 18)
A Father's Dilemma: An Italian villager
loss a dreas, makes love, brawls with
the town in a brilliant imported comedy.
(SR Oct. 1)
The Promoter: Alec Guinnesa scores
once again, this time in an adroitly paced
adaptation of Ameld Bennett's Th
Card." (SR Oct. 11.)
0. Heary's Full House: A quintet of O
Henry stories generally well translated
to o the film medium. (SR Sept. 13).
Beauty and the Devil: The Feast legend
Enbued by René Clair with his unique
kind of frolic. (SR Sept. 13)
The Qnies Men: John Ford goes back
to the Old Sod to discover the loves and
sports of Inahmen (SR Aug. 2)
Granger, painfully self-conscious,
reads off lines like, "I haven't lived
like a king, but I can die like one," or
says, to Deborah Kerr, "You'll be a
brave queen and do your part?" It
may be asking too much of any actor
to handle ruch material with convic-
tlon these days, but the whole rich,
lavish production la sadly lacking in
elther buoyancy or grace. In fact,
there hangs over it all the heavy dis-
enchantment of a "cloudland re-
visited," and you might be well ad-
vised to wait until Metro tries again-
probably as a musical next time, with
Mario Lanza
For some reason, despite years and
years of making Westerns, Hollywood
has never celebrated on the screen
one of the West's own heroes, the
rodeo rider. In "The Lusty Men"
(RKO) producer Jerry Wald ably
makes amends for this oversight. His
story, by Horace McCoy, may lack the
novelty of his backgrounds, but it is
still a stoutly serviceable affair and,
directed by Nicholas Ray, generates
both excitement and credibility. In it
Robert Mitchum agrees to teach
Arthur Kennedy the ropes for a price.
Kennedy climbs quickly and as to
often happens with movie "cham-
plons"-be soon is spending his win-
nings on wine and other women In-
stead of saving for that little ranch on
which he had planned to settle down
with wife Susan Hayward Mitchum
nobly sacrifices himself to make things
right for both of them. The action se-
quences, in which some of the top
riders of our times participate, are all
beyond repreach; while the behind-
the-scenes characters-particularly
Arthur Hunnicutt's crippled rodeo
tramp have an unusually authentic
ring to them. Robert Mitchum, as the
rodeo has-been, is outstanding in a
generally superior cast
-ARTHUR KNICHT.
"A BRILLIANT WEAVING OF
COMTO AND TRAGIS STRA
oder Crevier, M. T. Time
CHARLES CHAPLIN
ia bin buman drama
Limelight
Reisened thru Uned Art
FERFORMANCE
ASTOR
ALL SEATS DES
p3-30-m
TRANS-LUCK
RADIO CITY
MUSIC HALL
Showplace of the Nation
Rochaleler Cantor.
"THE HAPPY
TIME?
starring
CHARLES DOYER
LOUIS JOURDAN
with BARSHA RUNT
KUST KASZAR LINDA CERISTIAN
MARCEL DALIO BICHARD ERDMAS
DODGY CRISCOLL
Predeal by Statym
Directed by Bard Nulator
A Columbia Pastors
ON THE GREAT STAGE
"Revue Ramantique"
Go's a rare produced
by Evel Markert... su
tings by James Stewart
Morcom...with the Rock
ottes, Corps de Ballet,
Charol Ensemble end the
Marols Mall Symphony Or
desire Graded Ly Bar
mond Pulga
23
Cinemas Deluxe
TRANS-LUX
HENRY'S
HOTENS
SMASH WIT
PEELING TITAN mes
THE CRAND CONCERT
STANLEY O
RJK
ULANOMA
LILLI
Harrison-Palmer
77:45
FOUR POSTER
TI SUTTION
Robert Donates
THE MAGIC BOX
TECIDOCOLOS
hooded by LAURENCE OUVIR
Duty: 11.1.
46,808, 10:21
35
1989

[PAGE BREAK]

publishing company. Since then, Curtis
Fuller and his wife Mary have been at the
helm. In recent years, UFO writer Jerome
Clark played an increasing role in the pro-
duction of the magazine. He was eventu-
ally named editor.
Now the Fullers have decided to bow
out. The magazine has been sold to
Llewellyn Publications, a Minnesota-
based publisher of astrological and oc-
cult literature. As of March 1st, Fate's
Chicago-area offices have been closed,
and the magazine has been installed at
Llewellyn's headquarters in St. Paul.
The new editor of Fate is Dan Kraig,
who promises that the magazine will fi-
nally begin to change with the times, but
not so much as to "alienate" its current
readers. Kraig told Caveat Emptor that he
viewed his new job as "an incredible chal-
lenge and an incredible opportunity." He
added that newsstand circulation, which
has floundered in recent years, would
again be emphasized.
Former editor Clark has returned to his
boyhood home of Canby, Minnesota, and
will concentrate on writing books, in addi-
tion to editing the International UFO
Reporter for CUFOS.
In the meantime, the Fullers have
earned a place as pioneers in UFO and
occult studies. They discussed the past
as well as the future in a retrospective in-
terview that will appear in the Summer is-
sue of Caveat Emptor.
IN OUR NEXT ISSUE:
A CONVENTION IN THE OZARKS
Long-time UFO researcher Lucius Far-
ish is one of the sponsors of the forthcom-
ing Ozark UFO Conference. The affair has
been set for April 14th through 16th, 1989
in Eureka Springs, Arkansas.
Featured speakers include-at pres-
ent-Dr. James W. Deardorff, British re-
searchers Timothy Good and Norman
Oliver, Cynthia Hind of Zimbabwe, Danny
Gordin, Robert W. Reid and legendary
UFO contactee Daniel W. Fry. California
researcher Rosemary Decker, who has
studied the UFO enigma since the 1950's,
is also due to make a presentation. Al-
though their presence wasn't guaranteed
at press time, Vicki Cooper and Sherie
Stark, of California's UFO magazine,
Thomas R. Adams, Bill Hamilton and
Wendelle Stevens were also expected to
participate in the three-day affair.
Another speaker mentioned is David
Branch, who has studied the files of the
late Edward Ruppelt, the former head of
the Air Force's Project Bluebook who also
authored the classic UFO work, The Re-
port on Unidentified Flying Objects
Registration fee for the Conference is
[AD] $35.00. Further information is available
from Lucius Farish at: Route 1, Box 220,
Plumerville, Arkansas 72127. Farish can
[AD] also be reached at (501) 354-2558.
An exclusive interview with Fate magazine's Curtis & Mary Fuller.
More of the implications for UFO research of the Gaia theory.
Further investigation into the controversial MJ-12 documents.
UFO NEWSCLIPPING SERVICE
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GEORGE D. FAWCETT
602 Battleground Road
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30
-out of print 'GREEN EGGS"-
(A NEO-PAGAN JOURNAL of the 60's and 70's)
- A Bit of neo-PAGIAN history.
ISSUES 54-78 AVAILABLE. SOME VERY LIMITED.
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CAVEAT EMPTOR NO.17 SPRING 1989
CAVEAT EMPTOR