Appreciation: John Amos was a pioneering, calming presence onscreen and elsewhere

As a seasoned movie connoisseur with a penchant for delving into the lives of actors beyond their on-screen personas, I must say that John Amos was nothing short of a remarkable force to be reckoned with in the world of entertainment. His journey, much like a well-scripted screenplay, was filled with unexpected twists and turns, making his life story as captivating as any blockbuster film.

It’s striking that it took over a month following the passing of actor John Amos, aged 84, for his death to be announced on Tuesday. Such a forceful individual leaves an impact that lingers, taking time to fully dissipate.

Born as a Golden Gloves boxing champion and previously involved in college and minor league football, Amos later ventured into the entertainment industry. He started his journey as a comedian in Greenwich Village, then moved on to write for Leslie Uggams’ 1969 variety show. Eventually, he found success on screen, often portraying characters in positions of authority or rebellion against it. Throughout his extensive career, Amos has taken on roles such as reverend, inspector, captain, sergeant, doctor, coach, sheriff, pastor, mayor, deacon, and notably, Adm. Percy Fitzwallace, the chairman of the Joint Chiefs of Staff in 22 episodes of “The West Wing,” a highly acclaimed TV series prior to the current era. Notably, when Amos met then-Secretary of State Colin Powell, Powell reportedly said, “Percy Fitzwallace? What kind of name is that for a brother?

In our initial encounters with Amos as “Gordy the weatherman” on “The Mary Tyler Moore Show,” he seemed perfect for the role. As Amos shared in an interview with the Television Academy Foundation, “Gordy was eloquent.” He appreciated that Gordy was a meteorologist rather than a sports caster because it suggested that the character was intelligent, beyond just X’s and O’s. (This was a recurring joke as people often confused him with a sports caster.)

Indeed, he is renowned for this role, where he portrayed a father figure not as a comically unintelligent character overshadowed by his children’s intelligence, but rather as a caring, responsible, and firm individual when needed. At the age of 34, Amos was cast as James Evans, Sr., in the 1974 spinoff of “Maude” titled “Good Times.” This early casting showcased his natural maturity, considering he was 19 years younger than Esther Rolle, who played his wife. Previously, he had already portrayed a similar character in several episodes of “Maude.

Following the style of Norman Lear’s house, there were intense, chaotic scenes mixed with calm, introspective, emotional ones, similar to “The Honeymooners,” yet featuring discussions on class and race. This showcased the actor’s versatility, but Amos grew dissatisfied as he perceived the focus moving towards Jimmie Walker’s character, J.J., the lazy son, famous for his catchphrase “Dyn-o-mite!” As he admitted in a later interview, he wasn’t always tactful during those times. The writers eventually tired of being threatened over their jokes and, following the third season, Lear decided to part ways with him. James’ character was written offscreen.

Just around the bend, “Roots” was waiting; in this role as the younger LeVar Burton’s Kunta Kinte, it became a historical milestone, paving the way for more compelling performances.

As a movie reviewer, I find myself captivated by the extraordinary journey of Amos, who found himself leading the way in a world still grappling with change. Born at a time when racial barriers were prevalent, he was one of the brave few Black students to integrate his New Jersey elementary and middle school, a period marked by insensitive questions like, “Do you have a tail?

During this time, the stage provided him an opportunity to enact plays such as “Master Harold” … and the Boys” by Athol Fugard (Detroit), “The Emperor Jones” by Eugene O’Neill (the role initially played by Paul Robeson on a tour), “Fences” by August Wilson (Albany), and Shakespeare’s works, including Sir Toby Belch in a 1989 production of “Twelfth Night” for Joseph Papp’s Shakespeare in the Park, alongside stars like Andre Braugher, LisaGay Hamilton, Michelle Pfeiffer, and Gregory Hines. In 1990, he developed his own one-man show, “Halley’s Comet,” where he portrayed a man reflecting on the past century, which he has continued to perform as recently as 2017.

Throughout his career, he followed opportunities that led him places, much like an actor does. This journey took him back to working with Norman Lear on the brief series “704 Hauser,” a show about a Black family moving into Archie Bunker’s former residence. He also made recurring appearances on Debbie Allen and LL Cool J’s UPN sitcom, “In the House,” and the CBS crime drama “The District,” as well as NBC’s “Hunter.” There were numerous guest roles on “The Love Boat” and “The A-Team,” all the way to “30 Rock” and “The Righteous Gemstones.” On the silver screen, some movies he starred in have been forgotten, but his performances in Eddie Murphy’s “Coming to America” and as himself in Josh and Benny Safdie’s “Uncut Gems” are fondly remembered.

In the place where he shone brightest was the television screen. One of my favorite Amos characters was Buzz Washington, the bush pilot, in the 2006 Alaska-based comedy “Men in Trees” starring Anne Heche. For a decade, he was married to Mai (played by Lauren Tom), who could be quite challenging, yet it underscored the quiet strength that defined his finest performances; he had an ability to bring tranquility on screen. True power doesn’t require loud voices to be effective, and it only amplifies when wielded silently.

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2024-10-02 05:01