Reply to Parcher's Critique of the Patty Statuette--part 1
Another example of contemporary modification of Patty to make her look authentic.
This statuette is not contemporary, but was created in 1973 in Moscow by Igor Bourtsev, with the assistance of his wife Alya, as described in pages 46-51 of Dmitri Bayanov’s book,
America’s Bigfoot: Fact, Not Fiction. Of the differences alleged between the statuette and frame 352, some do not exist, some are trivial or non-nefarious, and some represent an attempt to more accurately represent the creature.
This is a sculpture of Patty as shown in frame 352. Notice that the creasing of the suit (thigh hernia) is gone …
Only when viewed from the rear. Looking at her sidewise, as in the picture on p. 96 of Chris Murphy’s
Meet the Sasquatch, which I would have posted below if the file-size limit had been higher, the crease/hernia (pick one) is visible.
… the butt is made to look more natural, …
There are two differences in the butt: One is that the two dark “jock-strap” or “diaper” lines (one around the waist and one angling down from the forward half of the waist to the gluteal fold) are shown in the sculpture as indentations, which has the effect of “defining” and separating the butt from the thigh and the upper torso. (These lines are strikingly evident in all four frames shown on p. 54 of Murphy’s book.) But the statuette’s highlighting of these lines, which most people had been only subliminally aware of until the large color images in Murphy’s book were published, could not reasonably be described as an attempt to make the creature “more authentic.” On the contrary, it’s hard to find a natural explanation for them. (My guess is that they were marks left by her sleeping on wet or foul sticks in a nest.)
Second, the statuette’s upper thigh shows considerably less widening out along its lower edge up to the point of the thigh-indentation. According to my measurements, the lower edge of the statuette’s thigh angles up from the ground at about 50°, whereas the angle is only 35° for the image in frame 352. This makes the statuette’s butt less massive. But a thinner thigh is the reverse of an authenticating feature, because it is more human-like.
… the breasts are more natural by moving them higher …
Higher is not more natural, after adolescence, so moving them upward would not have helped to “sell” the film. (My guess is that, because the breasts were quite dark, there was room for interpretation in deciding where to place them, and that placing them higher was either an unconscious act of gallantry, or that Bourtsev, who’d never previously sculpted (Bayanov, 50), let himself be guided in their placement by an artist’s (idealized) handbook on figure-drawing.)
… and changing the shape …
If there is any significant difference in shape, it should have been explained what it is and why changing it would make the creature more natural. It’s hard to say what sort of shape would be more natural for a Bigfoot, in the absence of a type specimen. The only difference I see is that the statuette’s are smaller.
… and the head/face is given various modified treatments.
Bourtsev chose to base the face on the ape-like profile-view provided by frame 344 (see Bayanov, 47), rather than the human-like full-face view of frame 352. Owen Caddy’s recent photo enhancements to frame 352, based on a newly processed version of the film by Rick Noll, support the authenticity of Bourtsev’s version. (Because of copyright restrictions, Caddy’s enhancements can for now be seen only at his slide-show presentations at Bigfoot conferences.) The only other noticeably different feature (to me) were the prominent ears on the statuette—but they are so trivial an authenticating detail that it’s hard for me to view them as evidence that the sculpture was created with salesmanship in mind.
Try to imagine what this figurine would look like if it really matched Patty in frame 352...
They wouldn’t be much different. Compare them in the side-by-side pictures on p. 96 of Murphy's book.