Reni santoni biography of martin luther king

When we last checked in with the idea of men and guns in American cinema, we were in 1953, working Shane through its paces to get to the roots of the oh-so-American notion that violence is regrettable but necessary.

Jumping forward eighteen years, we find ourselves still clinging to that idea and yet in a different world entirely. It's now 1971. The post-World War Two euphoria about American international and domestic triumphs has disappeared so completely it might never have existed. The intervening years seem to have brought little more than a series of dislocations, chaotic conflicts following one after another in swift succession.

On the international stage, the dispiriting Korean War has been followed by the commencement in real public terms of the nuclear arms race, with America and the Soviet Union each convinced that the other is developing more and better world-destroying weapons, and that the country that figures out how best to turn the Earth into a fireball will have the privilege of determining the future of humanity.

International coups and assassinations have become the norm. The U.S. aids and abets the killing of Patrice Lumumba in 1951, and Africa becomes a horrific battleground of ideological proxies; they sponsor a coup

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