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Nov. 22, 2022 - Jim Fetzer
24:57
The New JFK Show #3 Robert Groden Z-Film Limo Stop
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Time Text
The one question that would prove or disprove the authenticity of the Zapruder film.
Did the Secret Service bring the limousine to a halt in Dealey Plaza?
Let's ask Bill Newman, who was standing within 15 feet of the car with his wife and two children.
I can remember looking back and, you know, and seeing the car slow down or nearly come to a complete stop.
Come to a complete stop.
Come to a complete stop.
Complete stop.
Complete stop.
And then accelerate and take off and go out of sight in a triple underpass.
And when I say stopped, I only mean that, like, you either apply the brakes and then get off the brakes and take off.
It was, when I look back, I, but you know, in the Cerruta film, it never shows the car stopping.
But you know in the Subruta film it never shows the car stopping.
You know if I say stop then somebody interprets that that the car stopped for 30 seconds or a minute or a long period of time.
I do think the car stopped momentarily.
And when I say momentarily I'm just talking about looking over and seeing the brake lights and it hit and kind of rocked the car and took off.
So we're just talking about This is Mary Woodward.
She was equally as close as the Newman family.
And it always seemed to me that had the car speeded up, had there been better reaction on the part of the driver, they were only yards from what at least I perceived to be safety by getting on the expressway.
But the car seemed to just, it didn't move.
After that first shot, it just didn't move.
It didn't move.
After that first shot, it just didn't move.
Just didn't move.
Just didn't move.
This is motorcycle escort Bobby Hargis riding through the left rear wheel of John F. Kennedy.
This is not to be shown publicly, but that guy slowed down.
Maybe his order was to slow down where the rest of the guys were.
This is Greer, the driver of the presidential limousine.
Yeah, presidential limousine.
Slowed down almost to stop.
Slow down, almost to stop.
Slow down, almost to stop.
Photographic expert analyst Robert Grodin has been studying the case for decades.
Here are his observations regarding the filmed evidence in Dealey Plaza.
This is Robert Grodin from Dallas, Texas.
The poem, as it were, of the Kennedy assassination.
The issue I want to discuss with you today is the filmed evidence of the assassination and how important it is.
May I have your name, please, sir?
My name is Abraham Zaputo.
And as I was shooting, as the president was coming down from...
The important thing is to remember that it is not the only film of the assassination.
I had a shot.
He slumped to the side like this.
Then I had another shot or two.
I couldn't say it was one or two.
And I saw his head practically open up, all blood and everything.
The important thing is to remember that it is not the only film of the assassination.
The other two that are most important that we have are the Knicks film and the Much More film.
And they were taken from the other side of the street.
These three films all correspond with each other and verify the legitimacy of all three films to each other.
There's an issue that's been out there now for a couple of years that the Zapruder film has been brought under question by people claiming that the Zapruder film has been faked.
Well, it clearly has not been faked.
It is legitimate.
And people who are irresponsibly claiming that it's fake simply are just hurting the most important piece of evidence we've got in the case.
Every single issue that has ever been brought up claiming that the Zapruder film has been fake is easy to explain and easy to show that these people really don't know what the heck they're talking about.
The Zapruder film, the Muchmore film, the Nix film all show that the President was shot from the front and this is very, very important because it proves a conspiracy.
In the Warren Commission report, frames showing the fatal headshot were reversed to hide the president's backward movement.
This was later claimed to be a printing error.
There's an issue that's been out there now for a couple of years that the Zapruder film has been brought under question by people claiming that the Zapruder film has been faked.
Well, it clearly has not been faked.
It is legitimate.
And people who are irresponsibly claiming that it's fake simply are just hurting the most important piece of evidence we've got in the case.
Every single issue that has ever been brought up claiming that this is a brutal film has been fake is easy to explain and easy to show that these people really don't know what the heck they're talking about.
All right, Dr. Fetzer.
He's all yours.
Gary, this is an embarrassment from a man who pretends to be an expert on the films and photographs of the JFK assassination.
It's completely dumbfounding how he could make so many false and misleading statements and such.
Brief comments.
It's not just been in recent years.
I conducted, organized, and moderated the first Zapruder Film Symposium at the J.K.
Lancer Conference in 1996.
in 1996.
This is now 2014.
It's been nearly two decades since the issue was raised with powerful evidence already sufficient proof presented at that very first symposium, which you can still obtain from J.K. Lancer, to demonstrate that the film is a fake, that it's a fabrication, that original footage was to demonstrate that the film is a fake, that it's a fabrication, that original footage was used Changes were made using the sophisticated techniques of optical printing and special effects.
Even claims there's internal consistency between Zapruder, the Knicks, and the much more films.
But of course, once they had revised the Zapruder, and we know where and when that was done, they edited the other films to be consistent, but there were glitches.
There were mistakes.
And this is extremely telling for a man who claims to be making this argument.
I have published an article entitled, Nick's Film Contradicts Zapruder, More Proof of JFK Film Bakery, in which I include links to a lot of other important articles.
But the fact of the matter is that in the Knicks, Clint Hill is shown moving further forward on the trunk and Jackie Kennedy further back on the trunk to be consistent with Zapruder, which means that Grodin, given his expertise, has to know better and therefore given his expertise, has to know better and therefore is deliberately deceiving his audience.
This is most embarrassing.
We not only have as many as 60 witnesses who reported observing the limousine slow dramatically or come to a complete halt, where it slowed dramatically as it came to a complete halt, where they saw part or all of this sequence, depending upon their perspective and whether there was movement that obscured their view,
But we have a half a dozen others who have actually seen what they refer to as the other film, including William Ray Maugham, the French investigative journalist, Rich Della Rosen, who ran the JFK research website and forum, and Gregory Burnham, who has now created his own new JFK forum.
I have published a 500 page plus book on this on top of the great Zapruder film hoax, where among other points I explained that while they had to edit out the limo stop because it was such a glaring indication of Secret Service complicity, that they made other changes including blacking out the blowout at the back of Dante's head, which was complemented by the further deception of obscuring really passing over the blowout in the autopsy x-rays,
David W. Manick, MD, PhD, the world's leading expert on the medical evidence, was able to determine, already in 1992, using a technique from physics, where David has not only an MD, and is not only born certified in radiation oncology, which is a treatment of cancer using x-ray therapy,
Uh, but, uh, he has a PhD in physics, so he employed a simple technique from physics known as optical densitometry, where by measuring the amount of light that passes through the x-ray, you can determine the relative density of the objects whose exposure to x-rays created the image.
Well, the more dense the material, the lighter the area when it's developed.
David had told me before he went into the National Archives that he thought the contrast between the light and dark parts of the X-ray was far too great to be a normal X-ray.
And also that he believed he would discover evidence of a second shot to the head.
I told him that was great either way.
We had what we were looking for.
In fact, he determined both.
And while they blacked out the blowouts in those early frames, especially immediately after frame 313, in 14, 15, 16, 17, for example, you can actually see the blowout in frame 374.
I have emphasized it in so many places.
It was a key part of the color photo section in the Great Zabruder Film Hope.
Robert Grodin has to be aware of it, which means that the film is not even internally consistent, because you can see the blowout in frame 374, where its shape and dimensions closely approximate area P for patch that Mavic defined in the autopsy x-rays.
And where now we have a group of Hollywood film restoration experts working with Sidney Wilkinson, who have been studying a forensic copy obtained from the National Archives, and who have found that the blacking out of the blowout at the back of the head was amateurish, blatant.
They couldn't believe how crudely it had been done.
We also know from Roderick Ryan, who is an expert in special effects cinematography, working as a consultant with Noel Simon, that he confirmed that the blob, this seemingly bulging brain matter to the right front, had been painted in, as had the blood spray.
And when Noel asked him why, in some frames, while the background is blurry, the foreground is precise, in others, both the background is precise and the foreground is precise, Roderick explained that was because in the first case, the limousine was moving, and by panning and following the limo, you blur the background, and in the second case, the limousine was stationary.
As far as the proof of the shock from the right front, it's been a psychological phenomenon that many students of the assassination have believed that's our most powerful proof that there were multiple assassins.
That's in fact not true, but in their own minds it comes across because of the emotional impact of seeing that dramatic back-and-to-the-left.
But that effect, as David Madigan has surmised early on, appears to have been an artifact of the way in which the film was edited.
As those who have seen the other films, and as the medical evidence supports, During the limo stop, JFK was hit twice in the head.
He was hit in the back of the head, not far from the external occipital protuberance, where even the Bethesda physicians initially identified that location.
He slumped forward.
Remember, he was wearing a back brace.
Jackie eased him back off and was looking him right in the face when he was hit in the White Temple by a fringe of more exploding bullets that set up shockwaves.
That blew his brains out the back of his already weakened cranium to the left rear with such force that when they impacted with motorcycle patrolman Bobby Hargis there, he initially thought he himself had been shot.
Not only was the limo scene stunning, but those two shots to the head obviously had to be removed or contracted.
And what they did was they tried to convert them into a single shot, which by adding the balls to the right front, they wanted to present as though it had been fired from above and behind, but they committed mistakes.
One frame from between 312 and 313, JFK's head actually goes forward.
Instead of in attempting to edit the many frames where he actually slumps to the left, In other words, after that second shot, he doesn't move violently back into the left side.
He slumps to the left.
But they took out so many frames that it created the impression of a violent back and to the left motion, which Robert Grodin is describing.
But he has to know better.
I have explained this too many times.
I even published an article directly focused on Robert Grodin entitled, The JFK War, The Challenging Case of Robert Grodin.
Well, I go through four or five different issues, such as that he even continues to deny that there's a bullet hole in the limousine windshield, in spite of the fact that you can see it in the Altum 6 photograph taken at the time of the assassination, that multiple witnesses reported observing it at Parkland Hospital, one of whom, a police officer, stuck a pencil through the hole.
Well, we even tracked down the Ford Motor Company executive who was responsible for replacing the windshield, where Doug Weldon, J.D., now deceased, did absolutely brilliant work on all of this, and where this official confirmed that he threw a bullet hole in the windshield.
If Robert Weldon can't even admit a bullet hole in the windshield when it's visible in the auction, and also in frame, I believe, 226 of the Zapruder, I mean, we're dealing with somebody who has serious problems dealing with truth and evidence.
I'm shocked by Robert Grodin's performance here.
We know, by the way, from Douglas Horne's brilliant work, especially as reported in part four of his five-volume series inside the ARRB, that the original was taken to the National Photographic Interpretation Center in Washington, D.C.
Which is used to develop satellite spy photographs which are coming as micro dots that are blown up to be very large so they can be studied which would be a step one would take if one were going to revise the film.
The original was brought there as an 8mm already split film that had been developed in Dallas.
There was one team working on Saturday.
They had to request the owner of a Photoshop to open so they could obtain an 8mm projector because they didn't even have such a device in stock to watch the film.
But then Sunday, a 16mm unsplit film was brought from Rochester and the substitution was made where the CIA has a secret film laboratory known as Hawkeye Works adjacent to Kodak headquarters there.
And in the revised version, the limo stop has been removed, the two wounds have been conflated, the blobs at the right front have been added in the blood spray, but they overlooked it in frame 374.
You can actually see the blobs at the back of the head.
John Costella has done magnificent work on this.
I believe that the footage that you've seen in this is actually from the Costella version of the film, because it improves, removes aspect ratio and pin-pushing distortion, and is not under the control of the Zecruder film or any copyright, and has been available to the public free and without charge on AssassinationScience.com since around 2003, when I conducted a Zecruder film symposium
In Duluth, which has been published online in 66 different segments.
Now, if Robert Grosin were confident, he would be acknowledging that the film has been massively edited using the sophisticated techniques of optical printing and special effects.
Some of the obvious indications of which include the motionless or virtually motionless spectators.
Everywhere along the motorcade route, the crowd is cheering and waving wildly.
But in the segment here, the crowd in the vicinity of the 7th Freeway sign is virtually motionless, an indication that that particular foreground footage was taken earlier in the day when the pilot car, or the lead car, passed by, not when the President was present.
And indeed, that's been confirmed by those who have seen the other film, who explain that they were waving and cheering just as wildly as elsewhere on the motorcade.
Both Gene Hill and Mary Mormon have explained how they stepped into the street.
Gene stepped into the street to call, hey Mr. President, look over here, we want to take your picture.
Mary stepped into the street to take the picture.
In a study about the Mormons, the Mormon revisited, as I recall, David Lifton added an appendix in which he explained that he had observed Gary Mack, the custodian of the Sixth Floor Museum, interviewing Mary about what she did that day, and each time she tried to step off the grass into the street, he stopped her from doing it, and eventually they took some footage where she didn't do that, and Gary said, okay, we'll use that footage, and as Lifton observed,
He don't know what to call this, but it certainly isn't history or making a documentary.
And where Jean was so close to the limousine that she observed what she took to be a little dog in between Jack and Jackie.
She was widely lambooed for that at the time.
But we have subsequently Jack White discovered photographs and footage that revealed that what she was looking at was a little handpuff at Lamb Shop that one of the fans had given to Jackie.
So that Jack and Jackie had actually been looking at Lamb Shop so that what, in fact, was being used to attempt to discredit Gene Hill now turns out to boomerang and overwhelmingly confirm her credibility.
Because who in the world would have surmised that it was something that looked like a little dog in the vehicle with Jack and Jackie?
I find it completely disgusting that Robert Grodin persists in this charade.
We also have information coming from Clint Hill describing what he did in Rushing Forward, which appears to have taken place while the limousine was at rest.
He got up on the back, he pushed Jackie back down in her seat, he lay across their bodies, he peered into this fist-sized hole in the back of JFK's head, turned to his colleagues and gave them a thumbs down all before the limousine reached the triple underpass.
We have a confirmation from two different sources, Roy Tellerman, Who of course was the agent in charge of the presidential limousine, told the Warren Commission that he had looked back and seen Clint Hill lying across the trunk.
He was actually lying across the back seat, but from Kellerman's perspective it looked as though he was lying across the trunk.
And a similar report from Sam Kenney, who is the driver of the Secret Service limousine, by way of a friend of his in whom Sam confided after his retirement and asked him not to reveal until he was dead, who also reported watching Clint Hill get on the back of the limousine, push Jackie down, who also reported watching Clint Hill get on the back of the limousine, push Jackie down, lay across their bodies, all of which There is more.
I have published so much about this, I can't believe, but something is terribly, terribly wrong.
And not only is it the case that what Robert Broden is reporting here, which Len O'Cannick seems to have bought hook, line, and sinker, a gross distortion of what we know about the film and what has become of it.
But he has not used an interview he did with me when I was there in British Columbia on my way to the Vancouver hearings, which I organized, the first international conference sponsored by Scholars for 9-11 Truth.
I did three different interviews with Glenn for this series.
One was on Secret Service complicity, which will show up as number 16.
And I find it very odd, therefore, that this Robert Grodin piece on the film is number 11, because surely, you know, if you think about the series of events, the Secret Service complicity ought to have occurred at 11.
And this discussion of the film 16, it's not a trivial matter.
But that's the first objection I make.
Not only that, but in my discussion of the Secret Service complicity, as I will explain when we get to number 16, he cuts it off, just as I talk about the limousine having come to a halt.
Roughly stopped.
I went on to explain a lot of the things I've explained here.
That has been edited out.
Not only that, but I did a second interview with him on the faking of the Zapruder film.
He did not use it.
I did yet a third interview with him about Oswald in the doorway, based on the study of the Alston's photograph, where we've been able to solve the question, as I have explained in many cases, including, believe it or not, Oswald wasn't even a shooter with Richard Hook, and where I give a summary of the proof that Oswald was actually in the doorway.
Which Groton again denies in that article entitled, The JFK War, The Challenging Case of Robert Groton.
So I hold Groton in contempt for this deceitful performance.
And it is profoundly disturbing that a man who has done so much good work, including, for example, the killing of a president and the search for Lee Harvey Oswald, should be so massively misleading the public.
And betraying his legacy of research on the assassination of JFK by maintaining that the extant version of the Zapruder film is authentic.
Well, I'll tell you, Jerry, everything I've explained should be common knowledge for every student of JFK.
Dr. Spencer, what are they hanging on to?
Because shattering the cover-up is the key to the completity of those who are responsible for the death of JFK.
And then there's the Pruder film, the fact that they massively edited the Pruder film at the secret lab, demonstrates conclusively that this was a government-run operation involving complicity at the highest levels of the government, including, of course, the fact that the presidential limousine demonstrates conclusively that this was a government-run operation involving complicity at the highest levels of the government, including, of course, the fact that the presidential limousine was
And that had to be done at the directive of an authority at the level of J. Edgar Hoover or Lyndon Johnson, and where Edgar was used by having the FBI designated as a sole investigative agency, where it buried the evidence, did not even interrogate the ten closest individuals did not even interrogate the ten closest individuals to the legal.
Well, you'll find witness after witness to the limousine stop, including all four of the motorcycle escort officers.
I mean, there were excellent reasons why the FBI didn't question any of those closest to the limousine.
And where, as you well know, even Bill Newman said, the limousine stopped.
He couldn't believe it.
The limousine stopped.
I'm telling you Gary, the evidence is massive and overwhelming and in my judgment... Alright, well one more question while we're on this.
Is Mr. Osanic witting or unwittingly participating in this fraud?
Gary...
I think that Len is a super good guy.
I like him tremendously, but he's very susceptible to social pressure.
He told me he had several he wanted to include in the series who refused to participate if I were included on those topics.
So he compromised by filming me on those topics.
They're wonderful interviews.
I presume he has them somewhere in his archives.
And it would be marvelous if we could obtain copies of them, but then not using them.
And for the sake of whom?
You know, Robert Groton?
I mean, Groton's covering up here.
Groton's complicit.
Groton has become an accessory after the fact.
It's a shameful situation.
And I think that Len has simply succumbed to the pressure of his peers.
That he's not really a researcher so much as he is someone who likes to organize and promote research on JFK and therefore he's been unable to come to his own independent conclusion about this matter and has been the subject of pressure from those who want to conceal the truth.
Grodin's a very challenging case, precisely as I entitled that article, The JFK War, The Challenging Case of Robert Grodin.
I recommend every listener go there, study that article, and determine for yourself who is right and who is wrong.
Alright, I think we've put the nail in the coffin of the Zapruder film being authentic or not.
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