“The tools of conquest do not necessarily come with bombs and explosions and fallout. There are weapons that are simply thoughts, attitudes, prejudices – to be found only in the minds of men. For the record, prejudices can kill and suspicion can destroy and a thoughtless, frightened search for a scapegoat has a fallout all of its own for the children and the children yet unborn. And the pity of it is that these things cannot be confined to . . . The Twilight Zone.” — Rod Serling, 1960
by Richard Hooke (with Jim Fetzer)
As we approach the 49th observance of the assassination of JFK, I have been invited to speak at The Roxie Theatre in San Francisco on 22 November 2012 and explain what Oliver Stone got right and got wrong in his monumental film, “JFK”. Most of the film is right, where Oliver Stone has given us the most accurate, complete and comprehensive presentation of what actually happened in Dealey Plaza on 22 November 1963 that has ever been provided to the American public though the mass media.
Most Americans don’t know anything about the two significant events involving the famous Zapruder film of President Kennedy’s Assassination that took place back-to-back, on successive nights, at the CIA’s National Photographic Interpretation Center (NPIC) – in Washington, D.C. – on the weekend immediately following JFK’s assassination. But anyone evenly remotely interested in what is perhaps the key piece of film evidence in the Kennedy assassination – what for decades was viewed as the “bedrock evidence” in the case, the “closest thing to ground truth” – needs to become acquainted with what happened to Abraham Zapruder’s home movie of JFK’s assassination during the three days immediately following President Kennedy’s death. Why? Because the hottest debate raging within the JFK research community for the past several years is about whether the Zapruder film in the National Archives is an authentic film from which sound, scientific conclusions regarding JFK’s assassination can be divined, or whether it is an altered film indicative of a government cover-up, which yields tainted and suspect information, and leads us to false conclusions, about what happened in Dealey Plaza. The resolution of this debate hinges on the answers to two essential questions:
First, is the film’s chain of custody immediately after the assassination what it has been purported to be for many years, or is it, in reality, quite different? Second, are there visual indications within the film’s imagery which prove it has been tampered with, i.e., altered? If the film’s chain of custody has been misrepresented for decades, and if the opportunity and means existed that weekend to alter the film, then suspect imagery within the film takes on a crucial new level of importance, and is not simply of academic interest.