Crown Heights needs more such insight. Instead, its docu-fantasy style often rings as clichéd —from the dark NYC courtrooms to frequent prison visits by King and Warner’s family that happen in a snap. In the 1980s, I witnessed New York’s Columbus Circle as the site where dozens of inmates’ families regularly queued up for bus caravans taking them on the long trek to upstate prisons. Crown Heights skips over that common, wearing journey in its simplified story of Warner’s longing for justice. It’s the kind of exhausting detail sacrificed to social-justice propaganda. As in the scene of Warner’s prison wedding to his steadfast neighborhood love (Adriane Lenox), there’s no visual concept of such a moment or what it signifies. The movie never documents the distinct, profound human experience of injustice — the cinematic expression that made critics call Kramer corny. Is Crown Heights a work of humanist persuasion or is it merely motivated by politics?
In 1974, his Collected Plays, Volume II was issued by Oxford University Press. In 1975 Soyinka was promoted to the position of editor for Transition , a magazine based in the Ghanaian capital of Accra , where he moved for some time. He used his columns in Transition to criticise the "negrophiles" (for instance, his article "Neo-Tarzanism: The Poetics of Pseudo-Transition") and military regimes. He protested against the military junta of Idi Amin in Uganda . After the political turnover in Nigeria and the subversion of Gowon's military regime in 1975, Soyinka returned to his homeland and resumed his position at the Cathedral of Comparative Literature at the University of Ife .