King: A Filmed Record... Montgomery to Memphis
1970 | 185m | English
Popularity: 0.7 (history)
| Director: | Sidney Lumet, Joseph L. Mankiewicz |
|---|---|
| Writer: | |
| Staring: |
| A presentation of key events in the life of civil rights activist Martin Luther King Jr. Beginning with the 1955 bus boycott in Montgomery, Alabama, MLK is followed through major steps in his struggle to promote racial equality. Including footage of King's stirring speeches, it is a fitting tribute to his legacy, and features clips narrated by a wide range of celebrities, including Harry Belafonte, Paul Newman Charlton Heston, Ruby Dee, Burt Lancaster, Anthony Quinn, Walter Matthau, Ben Gazzara, Clarence Williams III, Joanne Woodward, and James Earl Jones. | |
| Release Date: | Mar 24, 1970 |
|---|---|
| Director: | Sidney Lumet, Joseph L. Mankiewicz |
| Writer: | |
| Genres: | Documentary |
| Keywords | civil war, alabama, racism, segregation |
| Production Companies | Commonwealth United Entertainment |
| Box Office |
Revenue: $0
Budget: $0 |
| Updates |
Updated: Jan 28, 2026 Entered: Apr 20, 2024 |
| Name | Character |
|---|---|
| Martin Luther King Jr. | Self (archive footage) |
| Coretta Scott King | Self (archive footage) |
| A.D. King | Self (archive footage) |
| Dexter King | Self (archive footage) |
| Yolanda King | Self (archive footage) |
| Martin Luther King III | Self (archive footage) |
| Bernice King | Self (archive footage) |
| Ralph Abernathy | Self (archive footage) |
| Joan Baez | Self (archive footage) |
| James Baldwin | Self (archive footage) |
| Harry Belafonte | Self (archive footage) |
| Tony Bennett | Self (archive footage) |
| Leonard Bernstein | Self (archive footage) |
| Marlon Brando | Self (archive footage) |
| H. Rap Brown | Self (archive footage) |
| Kwame Ture | Self (archive footage) |
| Diahann Carroll | Self (archive footage) |
| Wilt Chamberlain | Self (archive footage) |
| Xernona Clayton | Self (archive footage) |
| Bull Connor | Self (archive footage) |
| Bill Cosby | Self (archive footage) |
| Sammy Davis Jr. | Self (archive footage) |
| Ruby Dee | Self (archive footage) |
| James Garner | Self (archive footage) |
| Ben Gazzara | Self (archive footage) |
| Dick Gregory | Self (archive footage) |
| Al Hibbler | Self (archive footage) |
| Charlton Heston | Self (archive footage) |
| Hubert H. Humphrey | Self (archive footage) |
| Jesse Jackson | Self (archive footage) |
| Mahalia Jackson | Self (archive footage) |
| Gunnar Jahn | Self (archive footage) |
| James Earl Jones | Self (archive footage) |
| Lyndon B. Johnson | Self (archive footage) |
| Ethel Kennedy | Self (archive footage) |
| Jacqueline Kennedy | Self (archive footage) |
| Robert F. Kennedy | Self (archive footage) |
| Burt Lancaster | Self (archive footage) |
| John Lewis | Self (archive footage) |
| Elaine May | Self (archive footage) |
| Eugene McCarthy | Self (archive footage) |
| Robert Moseley | Self (archive footage) |
| Mike Nichols | Self (archive footage) |
| Paul Newman | Self (archive footage) |
| Richard Nixon | Self (archive footage) |
| John M. Patterson | Self (archive footage) |
| Anthony Perkins | Self (archive footage) |
| Sidney Poitier | Self (archive footage) |
| A. Philip Randolph | Self (archive footage) |
| Frederick Reese | Self (archive footage) |
| Nipsey Russell | Self (archive footage) |
| Bayard Rustin | Self (archive footage) |
| Anthony Quinn | Self (archive footage) |
| Fred Lee Shuttlesworth | Self (archive footage) |
| Nina Simone | Self (archive footage) |
| Paul Stookey | Self (archive footage) |
| Mary Travers | Self (archive footage) |
| Leslie Uggams | Self (archive footage) |
| C.T. Vivian | Self (archive footage) |
| Clarence Williams III | Self (archive footage) |
| Paul Winfield | Self (archive footage) |
| Joanne Woodward | Self (archive footage) |
| Peter Yarrow | Self (archive footage) |
| Andrew Young | Self (archive footage) |
| Name | Job |
|---|---|
| Lora Hays | Supervising Editor, Editor |
| Joe Dalisera | Sound Mixer |
| Gary Leibman | Sound Mixer |
| Coleridge-Taylor Perkinson | Music Supervisor |
| Wendell Franklin | Assistant Director |
| Al Gramaglia | Sound Mixer |
| James Perdue | Sound |
| Sidney Lumet | Director |
| Joseph L. Mankiewicz | Director |
| John Carter | Supervising Editor, Editor |
| Jack Sholder | Assistant Editor |
| Name | Title |
|---|---|
| Ely A. Landau | Producer |
| Richard Kaplan | Associate Producer |
| Organization | Category | Person |
|---|
Popularity History
| Year | Month | Avg | Max | Min |
|---|---|---|---|---|
| 2024 | 4 | 5 | 8 | 1 |
| 2024 | 5 | 7 | 11 | 5 |
| 2024 | 6 | 5 | 12 | 2 |
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| 2024 | 12 | 4 | 8 | 2 |
| 2025 | 1 | 3 | 7 | 1 |
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| 2025 | 7 | 0 | 0 | 0 |
| 2025 | 8 | 0 | 1 | 0 |
| 2025 | 9 | 1 | 2 | 1 |
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| 2025 | 11 | 2 | 5 | 1 |
| 2025 | 12 | 2 | 8 | 0 |
| 2026 | 1 | 0 | 1 | 0 |
Trending Position
I’m not sure this is an actual documentary. It has no editorial or narrative structure per se, what it presents us with is as comprehensive a chronology of Dr. Martin Luther King as it is possible to get. From his humble beginnings in an Alabama ridden with bigotry and strife, through to his assassi ... nation in 1968, this uses a phenomenal amount of archive research to illustrate the power of his oratory. His speeches are powerful and emotional, but they never come across as angry or provocative of violence. His strength of character and purpose in the face of a long-established racial belligerence is really quite well captured as the film includes the large scale “I Have a Dream” set-pieces to far more intimate and poignant comments to smaller groups, churches or even just to his aides and friends as he travels the length and breadth of the country extolling the virtues of freedom for all. That all isn’t just for folks of colour, but those being persecuted for their religious beliefs too, or being disadvantaged because of their sex or social status. It’s hard to imagine who might actually watch all of this now, it is a long haul, but it goes quite some way to testifying just how effective oratory can be when delivered confidently and proudly to an audience eager to engage. There is enough annotation to help advise on the locations and timelines, and there are a few - slightly unnecessary, I felt - staged readings from the likes of Charlton Heston and James Earl Jones to help, as does the latter archive footage, demonstrate that his optimism wasn’t just inspiring those African Americans, but plenty from the descendants of it’s European immigrant population too. It doesn’t attempt to analyse the man, his motives or his personal life but I don’t think that was anyone’s plan. It’s a vehicle for his passion, and it works powerfully.