I am a fan, a big fan (and friend), of Edward Zwick, the director of the iconic Civil War movie called Glory. It is iconic because it tells a complex story of race and heroism that rings true to history and to the contours of character. Since then Zwick has made Legends of the Fall, Courage Under Fire, The Last Samurai and several TV series from "thirtysomething", "Once and Again" and on to "My So-Called Life," each of which has its place--and an honored place--in the cinematographic history of our culture. His latest film is Blood Diamond, a taut drama of greed and love that is set in the ugly politics and economics of the rare jewels trade, an ugly trade in both the mining and the selling. It is a tale carved out of Sierra Leone and Liberia. But it is relevant to other places blessed or, as it were, cursed by the presence of the gem. (Please read Isaac Chotiner's "Half Nelson". And also Ryan Lizza's article in TNR a few years back ("Where Angels Fear to Tread," July 24, 2000) that tie Jesse Jackson and Mme. Albright's assistant secretary for African affairs, Susan Rice, to the wider scandal involving the ex-president of Liberia, Charles Taylor.) What Zwick's career demonstrates is that history can be treated on film without it becoming histrionics ... or false. Something that he also proved in a movie he co-produced, Shakespeare in Love. We have in this stunning production the maturing of two exceptional actors. Leonardi DiCaprio, it seems, can play just about anyone convincingly and with his own conviction. He was in this production persuasive both as a cynic and in the end as a tender-heart. Djimon Hounsou, whom we remember as the rebel mutineer in Amistad, once again is in a role that is big enough for his talents. The movie opened on Friday night ... just about everywhere.