reply to post by filosophia
I thought I would join in the defense of the OP, and took some frame-by-frame notes of my own!
The naysayers in this thread may be sticking to Garrison's observation, that Kennedy fell back and to the left (so mnemonically repeated in that
Hollywood film!) and so must have been shot from the front and to the right. I have observed that this is not necessarily the case. We can see that
Onassis is holding
Kennedy until frame 325. In frame 324, we can clearly see that her hand is on Kennedy's abdomen. In frame 270, we can see
Kennedy begin to lean to the left, towards Onassis
. Couldn't Kennedy have fallen to the left because of this slumping, and fallen back because
his wife's hand on his chest prevented him from falling forward? Let's look at the film again.
Frame 230, Kennedy's hands go to his mouth and throat
. Connolly immediately begins to turn around; he must have been alerted by a non-visual
cue (i.e. a severe and sudden cough).
Frame 241, Jackie Onassis reaches to her husband in a reassuring gesture.
At frame 250, Kennedy begins to lower his hands from his face. He leans forward, possibly to speak to Connolly and Onassis, possibly incapacitated.
Frame 253, Onassis' head darts to face Connolly. She leans to her right, apparently to bring his face into her line of sight as they appear to
communicate to each other.
The observations above are perfectly normal and understandable. We can treat it as a very innocent narrative. The President has been stricken with a
sudden cough. The Governor and the First Lady ask him if he is okay, and he informs them of his condition (or else is unable to speak, signifying his
sudden illness). He leans in to his wife, who holds him reassuringly before the killing shot comes. The next observations are less innocent.
Frame 270. Onassis' right hand falls out of view of the camera.
Frame 290. Onassis' head snaps to face her husband. Something urgent has happened, or is about to; he it not moving, so if it was a cough that first
drew their attention, it appears that it is not a cough that brings her to face him now.
Frame 292. Her right elbow moves out, towards the rear of the car. She leans closer to Kennedy. Her elbow moves back
Frame 299. Onassis' forearm begins to point at a downward angle. The actors remain almost frozen in tableau until frame 313, the kill shot.
Frame 325-328. Only one part of Onassis' body moves in reaction to the shooting. Her right hand moves, as if to discard something. It is a rapid
movement. She then touches Kennedy's body for a brief moment, before climbing out the rear of the car.
From this point on, I think it is useless to consider it as individual frames. The motion and the speed of activity is far more important. Notice
that, beginning in frame 308, Onassis seems to be applying pressure to Kennedy. She seems to be compressing herself against him, moving her head and
arms closer to him. We can feel the tension in our own bodies, watching her figure contract. The tension in this scene is instantly released when
Kennedy's right temple
explodes outwards. Onassis' body stops coiling towards Kennedy, and immediately she begins to move away form him.
She does not move away rapidly, as if she were startled, nor does she move slowly, as though she were stunned. The motion feels entirely like a
, a relief. Her motions after Kennedy's head explodes are not like Connolly's; he jumps in his seat and cowers immediately. She does
not display shock, nor does she appear stunned or awed
. Her movements are sober and calm. She only moved hastily when she began to lean
I say that it is a catharsis because I watched her right arm move in the lead-up to frame 313. See for yourself; her right elbow indicates that her
forearm was pointed at an approximate 45 degree angle downward in frame 303, and rises slowly, as if with some resistance, to the almost horizontal
angle that it is in during frame 313. The elbow then appears to buck, so that by frame 316 it seems to indicate that her forearm is pointed in a
slightly raised angle. Could this be indicative of recoil from a handgun, and the catharsis of pulling the trigger?
When Kennedy begins to cough (or whatever) he turns to look at Onassis. He does not move his head again, certainly not to speak or listen to
Onassis' gloves would prevent the gun from being useful as evidence against her.
In frame 320 we can begin to see, around the edges of Kennedy's head, that her gloved hand is moving in an arc towards the rear of the car. In frame
328 we can see that she has moved her hand into a position on the back of Kennedy's neck. Frame 330 shows us that, at the same time, her left hand is
clearly visible on his chest. Certainly, she could have bumped his now-limp body towards herself by these gestures.
In frame 350 she is 'leapfrogging' Kennedy; pushing against his back with her left hand as she propels herself towards whatever is on the rear of
the car (it cannot be a skull fragment; the autopsy photos show that only the front right portion of skull is missing).