Mediocre scanning capabilities prevent me from offering this document in two scans instead of four, but it's all here. I simply emphasized "UFO Means Business" in a fifth scan to highlight the question asked on the first page: What Does UFO Mean?
Look at the artwork and behold the text. Would you expect a war with aliens in deep space, or a UFO documentary? Yes, I know what the words say, but these outrageous illustrations were the catalyst inviting the (particularly) theater owners and audience to anticipate considerably more spine-tingling entertainment than they received. The trouble with movies in those years was that people wanted films to make them laugh, cry, be scared and/or just take their minds off their own lives for a while -- but in a post World War II era, still on edge with hostilities in Korea, moviegoers weren't ready for a celluloid think tank exemplified by emotionless characters mouthing words and demonstrating very little action.
In my opinion, if not for two factors -- the impressive Montana and Utah UFO films, and Ernest Gold's captivating musical score, conducted by Emil Newman -- "U.F.O." would have sunk like a rock, its chances for reincarnation even on late-night television questionable. Don't get me wrong, I love the film, absolutely, and most UFO researchers familiar with history feel much the same, but when you consider the audience and its unfamiliarity with the subject, it isn't hard to figure out why the movie lost big at the box office, and those all-important return visits via word-of-mouth recommendations weren't happening.
We might speculate, considering all the additional information coming to light over the decades about the importance of UFO incidents in the forties and fifties, what a new production crew could do with a remake of "U.F.O." Tom Towers, however, would surely wish to remind the producers -- keep the facts, but don't forget to add a little "hokum."
