Ten years after his assassination, this fine mini-series documents the adult life and times of Martin Luther King who despite some other fine folks in the field is recognized as premier among the black civil rights leaders. So acknowledged by the fact it is his birthday that is now a national holiday.

Paul Winfield with one magnificent voice captures the cadence and rhythm of Martin Luther King's poetical style of preaching. His abilities as an actor cover the inner emotions and the reasons that King is moved to do the work he did.

From being a newly minted minister and suitor for the hand of Coretta Scott played by Cicely Tyson we see the civil rights movement of the 50s and 60s progress through the eyes of its titular leader.

In the supporting cast I like both William Jordan and Cliff DeYoung as the contrasting personalities of the brothers Kennedy. Jordan as the cool John F. Kennedy and DeYoung as the passionate Robert F. Kennedy. DeYoung really got the accent down impressively.

Martin Luther King certainly did have a private life and if he's regarded for sainthood by some it's for his achievements in advancing civil rights as opposed to any kind of probity in his private life. I doubt most could have stood up to the intense scrutiny he was under Said scrutiny was ordered by that most misanthropic of men in the last century J. Edgar Hoover the 48 year head of the FBI. Things that disturbed the social order like the civil rights movement got Hoover's attention. He spent his last years looking to discredit the movement quite unsuccessfully, but doing a lot of damage along the way. There's a quiet evil in the way Dolph Sweet portrayed him.

In fact some of the private behavior of King is shown in those documented moments before he's shot on a motel balcony in Memphis. You see him among his colleagues there in some down time and these guys could be a salty and rough house bunch, divinity degree notwithstanding.

One thing that did not make me happy was the elimination of Bayard Rustin from the story. I'm thinking Roscoe Lee Browne as Philip Harrison is Rustin and he's as eloquent as I remember him. I actually did meet him during the gay rights struggle in New York City when Rustin finally made it official. In 1978 his gay story was still a hush hush matter. Had King the mini-series been made in 1988 the year after Rustin died he no doubt would have been there in name as well as fact.

The best thing about King is that it makes the civil rights struggle of the time quite real and relevant. You understand the indignities that some minorities have heaped upon them. After that you just might make the connection for all minorities. If that happens you will have been to the mountaintop and seen the promised land.

I've seen this film three times. First during its original 1978 telecast, secondly about 10 years later, and the third time today.

It includes some outstanding performances. Winfield is superb as MLK, portraying his heroic qualities while reminding us that King was an imperfect human being, like the rest of us:). From all I've read about MLK Senior, Ossie Davis captured him completely, conveying the forceful personality that was tempered by Daddy's love and concern for his son. Howard Rollins is a much more dynamic Andrew Young than Young himself:). Art Evans and Roger Robinson are excellent, respectively, as A.D. King and Fred Shutttlesworth. Ernie Lee Banks fully embodies Ralph Abernathy.

But Cicely Tyson, a GREAT actress, gives one of her few less-than- first-rate performances as Coretta King. She's OK, no more than that. Throughout the film, you get the sense that Tyson is trying to embody the character, but can't quite find her. I blame that on the script, which doesn't flesh Coretta out.

Bobby and Jack Kennedy are NOT well-played by Cliff DeYoung and William Jordan. Each struggles with the Baaston accent, for example. DeYoung suggests RFK's drive; Jordan suggests none of JFK's charm. But to cut them some slack, only two actors have stepped completely into the Kennedy brothers' cinematic (or telegenic?) shoes. The only exceptions are William Devane's JFK in "The Missiles of October" and Cotter Smith's RFK in "Blood Feud."

My main problem with "King" concerns the nods toward conspiracy theories. Now there is no doubt that J.Edgar Hoover used his FBI to harass King. But orders from above to get the black security officers off the King detail in Memphis, the FBI paying young black guys to disrupt the march there, etc? Not so sure.

Much King scholarship has taken place since 1978. I've read much of it, including the work of David Garrow and Taylor Branch, and don't recall these theories having been established therein as fact.

Having said that, I acknowledge my imperfect memory. I'll reread Garrow and Branch's books. If I am wrong, I will come back and say so. As an honest critic, I can hardly do otherwise:).

Those possible reservations aside, "King" is well worth seeing. But I do wish some far-sighted producer/director will bring MLK's story -- expressing both high and low points -- to the big screen eventually.

I first saw this on TV in 1978 and was held spellbound by it. In a time when I was becoming involved in the issue of Apartheid "KING" spoke to me like a prophet telling truth to power.

Created as a flashback the film speaks from the last week of King's life and goes back to where it all began in Montgomery in 1956. Like John Lennon, Harvey Milk, Gandhi and JFK, King was shot for the danger he presented to those who had much invested in the status quo.

For a long time after I wanted to get this on VHS I now have the DVD which sits alongside of Attenborough's GANDHI, Zaffirelli's Jesus of NAZARETH and IMAGINE: JOHN LENNON

"How long shall they kill our prophets while we stand aside and look?"

Bob Marley in "Redemtion Song"