FRONTLINE marks the 50th anniversary of President Kennedy’s assassination with an encore broadcast of Who Was Lee Harvey Oswald? — an investigative biography of the man at the center of the political crime of the century. The two-hour documentary special traces Oswald’s life from his boyhood to that fateful day in Dallas on Nov. 22, 1963, posing a number of questions: Was Oswald the emotionally disturbed “lone gunman”? Was he one of two gunmen that day in Dallas? Or was he an unwitting scapegoat for the real assassins?
Don DeLillo, Edward J. Epstein, and Gerald Posner respond to questions about the elusive character and contested significance of the 24-year-old former Marine who shot John F. Kennedy.
Millions of Americans believe there exists a larger, darker explanation for President Kennedy's assassination than just Oswald, the lone, disturbed gunman.
Many experts say the real Lee Harvey Oswald can be discerned in his writings and statements and in the documents and files concerning him. Here is a small sampling.
"Any effort to explain what happened in Dallas must explain Lee Harvey Oswald, and Lee Harvey Oswald is a mystery wrapped up in an enigma, hidden behind a riddle," says the chief counsel to the 1977 House Select Committee on Assassinations.
Historian Priscilla Johnson McMillan speaks with FRONTLINE about the perplexing, troubling events of Lee Harvey Oswald’s life, as seen through the eyes of his wife Marina.
Lee Harvey Oswald's older brother says that the "hard physical evidence" from the Kennedy assassination leads him to one conclusion: "The Warren Commission was correct."
There is no physical evidence at Dealey Plaza to suggest anyone but Lee Harvey Oswald assassinated President Kennedy, says Gerald Posner, author of "Case Closed."
Can there be any American who, having failed to gain stature while he was alive, now haunts us more than Lee Harvey Oswald, asks Norman Mailer in "Oswald's Tale: An American Mystery."
What obligation does Hollywood owe facts, accuracy, the truth? When popular history like Oliver Stone’s JFK gets hold of a subject, what kind of damage can be done?
Oliver Stone's "JFK" is neither entertainment nor art, but a political bid to make the filmmaker's rather paranoid vision the established view of a traumatic national event, writes commentator John Leo.
