Oliver Stone's "JFK"
RE: The Murder of JFK: Confession of an Assassin
Wed Nov 22, 2006 12:56
 


RE: The Murder of JFK: Confession of an Assassin (1996)

An extremely interesting interview, October 10, 2002
Reviewer: A viewer
Let me start by saying, I've been a serious student of the JFK assassination for the last 27 years; I've read and re-read all the major books and articles including the great anti-conspiracy work of Posner's, as well as the much vaunted Warren report; I've also seen all the major documentaries and most importantly,have THOUGHT many hundreds of hours about the case.

As for the video in question, let me say this: although I am the most skeptical and "doubting Thomas" kind of guy you'll ever meet, I find many compelling kernels of truth to James Files' (the subject of the video) interview---though I'm not quite ready to proclaim him as completely sincere yet.

Yes, there are a few discrepancies in Files' story. However, the man's recall of NON EVENTS would be extremely difficult to conjure up (if he were, indeed, lying). Simply put, a pathological individual who was simply making up a story wouldn't be concerned with minute, trivial details, but with the larger picture. Files' not only has amazing recall of such little details, but when viewed as a mosaic of the larger picture, they all seems to fit. But another important element emerges in File's remarkable story.

Interestingly, I had always assumed that the Secret Service impersonator (in the Grassy Knoll) was, as a confederate in a larger conspiracy plot, used to protect the frontal shooter. My explanation to myself of the impersonator's apparent brashness (when confronted by police) was simply that he must have had some real brass gonads, or simply stated, was so cocksure of his phony credentials' (and, perhaps, his relationship to a larger governmental or institutional conspiracy), that fear wasn't really an issue. But innately, I'd always questioned this assumption without really knowing why.

Enter in Files' revelations: not only do they shed new light on my assumptions (whether by truth or design), but they make me realize I had probably been viewing the whole Grassy knoll sequence in a skewered light. As Files' explains it, his presence in the knoll was only as a back-up---in case the assassination didn't go down the way it was supposed to. Thus, the impersonator was also a back up and was to only be used if really necessary. Now, it all made sense to me: If Oswald was to be "set up" as the rear shooter, then a frontal gunman would NOT be expected to shoot, but only be used in a back-up mode. And this would also explain the inordinate 'brashness' of the impersonator who only displayed his authentic-looking ID's when he really HAD TO. Not a story likely created by someone so egotistical as wanting to feign involvement.

How would Files have dreamed up this simple, yet remarkable observation if he were simply fictionalizing? Two explanations emerge: 1) either he IS, in fact, the frontal gunman and his actual participation provides true insight into what really happened; or 2) he is one of the most prolific liars AND students of the assassination (possessing an enormous database of info) to emerge in the last 3 decades. Problem is, Files simply doesn't come across as being THAT sophisticated or book smart (although he does appear very street savvy). Whether File's is, or isn't telling the truth, his unique descriptions of the Grassy Knoll sequence put pieces of the puzzle into place in a way I have never heard anyone *else* suggest. This seeming familiarity with the event has an odd ring of truth to it and suggests in some form, an INTIMATE knowledge about the assassination.

In conclusion: the only way File's story could be corroborated would be if a second interview took place, and dozens of minute details mentioned in the first interview were presented to him for spontaneous validation.

Whatever the outcome, this video is definitely a must see for any serious student of the JFK case. Decide for yourself.
http://www.amazon.com/exec/obidos/ASIN/6304138458/powerofthemind

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Kennedy's assassination in 1963 changed the world, and perhaps the system of Government in the United States.

"There is no official history of the assassination. . . only myth." - Oliver Stone.

The "myth" according to Stone is the official Warren Commission findings. And his movie JFK is closer to an actual history.
http://www.btinternet.com/~meirionhughes/Pub/jfk.htm



Oliver Stone's "JFK". . . .there was no mention in the reviews of a strange phenomenon threaded largely unnoticed by audiences into the movie - the use of subliminal, near subliminal, and symbolic images that might suggest either a Masonic involvement in the Kennedy slaying, or a series of strange Masonic messages intended for higher initiates of the secretive orders. . .

Subliminal JFK

There have been countless books, movies and documentaries about the assassination in 1963 of President John F. Kennedy. Arguably, the one movie that endorsed the conspiracy theory surrounding the assassination more than any other was Oliver Stone's "JFK", 1991 Warner Bros. In it, New Orleans District Attorney Jim Garrison is depicted investigating the assassination, meeting institutional resistance at every stage, and embarking on the only trial ever conducted in connection with the slaying. A vital piece of evidence - a statement made by the accused Clay Shaw to his arresting officer - is adjudged inadmissible by the court. The prosecution case, revolving around a conspiracy by a rogue element in the military and intelligence communities of America, is doomed. As in real life, Shaw is found not guilty of involvement.

Stone's award winning movie had both pundits and detractors. The detractors saw it as pure fantasy and the distortion of history. Amongst the pundits, and apart from pro-conspiracists, there was genuine admiration for Stone's uncanny touch, and his well rounded and evocative drama.

But there was no mention in the immediate reviews of a strange phenomenon threaded largely unnoticed by audiences into the movie - the use of subliminal, near subliminal, and symbolic images that might suggest either a Masonic involvement in the Kennedy slaying, or a series of strange Masonic messages intended for higher initiates of the secret societies.

Watch the movie in the normal way, and most people will not notice the hidden imagery. A true subliminal image lasts for only one frame, near subliminal for a few frames. The appearance of "morphed" faces is also noted, as are examples of Masonic symbolism. The following has been compiled from a frame by frame study of the movie on a video player. It is not exhaustive and many of the subliminal images are not present in editions of the movie cut for TV.

Curioser & Curioser.
Subliminal Images in Oliver Stone's Movie, "JFK"

The trickery starts when Garrison is told about the Dallas shooting and there is a close up shot of a clock; it is ticking; it is 12:36. A near subliminal ghostly image moves right to left across the clock face, materializing into a small image of a skull with its jaws open at the centre of the clock.

The first true subliminal image is a close-up of New Orleans District Attorney Jim Garrison, played by alleged Freemason Kevin Costner. This image of Costner's face is seen at least three times in the movie. In the early scene where Garrison and his staff are watching the televised funeral, with intercuts to scenes of senior military officers having meetings, the TV reporter describes discussions about Vietnam. Costner's head is seen from behind his left ear. His head rotates left 90 towards camera. This can only be seen using frame by frame progress.

Garrison sits on an airliner alongside a character played by Walter Mathau. The figure of a man passes quickly in front of camera. Frame by frame, the face of this man in profile appears to "morph" from that of Kennedy's, to Nixon, to Reagan.

In a scene where Oswald is being questioned by F.B.I. agents after his arrest for fighting with anti-Castro demonstrators, he appears capable of "bi-location". Oswald's white shirt seems to glow in these black and white images. One moment he is sitting in a chair being questioned by an F.B.I. agent across a desk. Advancing the scene frame by frame, Oswald is seen sitting in a chair facing his questioner then instantly standing against a wall facing the opposite direction. This scene reappears later.

Garrison questions convict O'Keef outdoors at Angola Prison. In the flashback homosexual party scene there is a full screen subliminal skull, a rat in a cage, and an image of a skull in the background over Clay Shaw's hand. These items can be clearly detected by progressing frame by frame through the scene.

A man in a dark suit passes three hoboes being taken into custody by police. The man gives the hoboes a secret hand sign. This happens again in the film in more detail.

A white ghost figure in a picture on the wall watches Garrison and his staff meeting in his home.

During a carnival parade, an American flag is lowered to reveal a huge human skull. One of the revelers, wearing Masonic style garb, face partially masked, appears to be Costner. During one intercut here there is a subliminal frame showing a pastiche of faces.

At the end of the parade scene, there is a cut to a small ship passing under a bridge, then to a cloud-scape. During the brief cloudscape sequence there is a subliminal frame depicting a UFO-like object.

Garrison questions Clay Shaw in Garrison's office. There are flashback homosexual situations and a near subliminal black and white scene where a projector shows film of a dark-skinned man crawling between the legs of a line of semi-naked white men.

After David Ferrie's death, the easily-seen images in Ferrie's apartment are a skull, rats, and religious figurines. A Crucifix is depicted in front of a painting of two male characters embracing a man, the two males have horns on their heads.

Garrison goes to Washington, D.C. to meet with a former intelligence agent named "X" who seems to know everything. Leaving the Lincoln Memorial, Garrison opens an umbrella and raises it over his head. Garrison becomes an "Umbrella Man." Agent "X" instantly recognizes this JFK assassination signal and their talk begins. Passersby have raised umbrellas, but it is not raining. "X" has been identified as Col. L. Fletcher Prouty, who has confirmed in his writings his flight from Antarctica and his investigation of newspaper photographs of Oswald in papers around the world only hours after Oswald is arrested - with the implication the photographs had been distributed internationally prior to the assassination.

A dark-suited man passes three tramps and gives a clear hand signal. The secret hand signals, signs, and other symbols suggest the involvement of Masonic forces.

Garrison's young daughter answers the phone to a stranger who tells her that she has just been entered into a beauty contest. On the wall behind, again, the picture frame contains a curious white ghost-like figure, which appears to talk.

Willy O'Keef testifies on the witness stand. There are flashes to a meeting between Shaw and O'Keef. Above Shaw's left hand in the upper right corner of the screen is the image of a human skull. Frame-by-frame, the skull opens its mouth into a horrific expression.

Kennedy's car passes through Dealy Plaza. There is a close-up of a man's face wearing glasses. The image of an animal moves right to left across a further close-up of the left lens of the glasses. A gun shot is heard. A doctor puts the remains of Kennedy's brain onto a weighing scale.

In Garrison's final summation to the court, Garrison says, "So what really happened that day?" There are intercuts to a scene just before the shooting in Dealey Plaza. A man in a black suit and white shirt slowly raises an open umbrella in front of another man wearing a jacket with the word "RIPLEY" emblazoned on its back. We could speculate that this is either a reference to Robert Ripley of "Ripley's Believe it or Not." or to the Ripley character in Alien and Aliens. It might instead refer to the Ripley Scroll, which is of arcane, esoteric importance to the occult.

During the trial scene there are also cut-aways to actual black and white footage of the Presidential motorcade. In one scene the camera appears to be travelling along a line of people watching and waving from the sidewalk. The faces of George and Barbara Bush have been morphed onto two of the figures - George Bush has a very long neck, whilst his wife appears to have no neck at all. At the end of the line: morphed faces of the Reagans.

A man aims a scoped rifle at Kennedy. The camera zooms into the telescopic sight. A reflection of a face in freeze-frame can be seen in the lens of the sight. This face then metamorphosizes into another face with an evil grin. The face disappears and light begins to emanate from within the telescopic sight.

After James Tague is nicked by a stray bullet, the scene changes to Clay Shaw holding an umbrella over his head. Several frames later, a younger dark-haired man is holding an umbrella over his own head. Immediately after the shooting in Dealy Plaza, patrolman Joe Smith stops and questions a man. The man produces a Secret Service badge. The questioning stops and the man moves off. The scene cuts back to the courtroom where patrolman Smith is testifying. "Afterward, it didn't ring true," he says, "but at the time we were so pressed for time." Immediately the scene cuts to a tall man wearing a suit. He has his left hand to his ear as if listening. He turns towards camera and gives a Masonic sign of distress. He holds the palm of the left hand up and crosses it with the right hand palm down. This is done several times at waist level with the hands held at about 12 inches from the body. It is the sign of distress from the rite of the Entered-Apprentice, first degree of Freemasonry. A similar sign is also given by a courtroom bailiff during a critical part of examination by Garrison. Defense counsel immediately objects and the judge rules Garrison out of order.

During the court scene, footage of the Zapruder film is shown, close-cropped so that the bullet hit to Kennedy's head can be seen. During this sequence, a subliminal frame shows the same UFO-like object in front of Kennedy shown in the cloudscape mentioned earlier.

What does it all Mean?

Having first established that these peculiar items in the movie do in fact exist, we are obviously moved to the question, why? If there is a suggestion of Masonic involvement in the assassination, why not come out with it overtly? The main text of the movie suggests a Military Coup-d'etat, the sub-text suggests something much more mysterious, and leads to the impression Stone is privy to deeper information about autonomous elements within Government that are beyond the reach of democratic processes; forces that either use Freemasonry as their modus, or are themselves controlled by it. Indeed "X" - real life Colonel L. Fletcher Prouty, played by Donald Sutherland - suggests in the movie that while Garrison is on track in his investigation, the real truth is something much bigger, much deeper.

There is also a suggestion that Garrison had become a pawn in the game of concealment. The failure of the trial of Clay Shaw at that time scuppered any ideas of bringing other persons to trial for the assassination. The official line is that Oswald assassinated Kennedy. The majority of Americans believe there was a conspiracy along the lines of the main text of Stone's movie. But the sub-text suggests that there is more. Is Stone suggesting with his sub-text that the classic conspiracy theory is just another cover story to disguise what really happened at Dealy Plaza that day in 1963?

Is the real truth wrapped in secrets that only a few "illuminated" individuals are aware of, and which are as old as humanity itself, or older? Why is the Zapruder footage

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