John Amos, a New Jersey native born to a mechanic, carved his path in acting through sheer determination and a commanding presence. His journey, often challenging due to industry typecasting, showcases a remarkable career across film and television. While his imposing stature and intensity might have initially defined his roles, Amos consistently sought substantial characters that would highlight his acting prowess, leading to a respected place in entertainment history, particularly in television and film.
Born on December 27, 1939, Amos’s diverse early career included stints as an advertising copywriter, a social worker at New York’s Vera Institute of Justice, and even a semi-professional football player in both the US and Canada. His transition to acting began in stand-up comedy in Greenwich Village, which eventually led him to Hollywood. In 1969, he landed a writing position on Leslie Uggams’ musical variety show, marking his initial foray into the entertainment industry. His legitimate stage debut came in a 1971 Los Angeles production of “Norman, Is That You?”, earning him critical acclaim and a Los Angeles Drama Critics nomination for Best Actor. This success spurred him to form his own theater company and tour with “Norman, Is That You?”.
In the realm of television, one of John Amos’s early roles was as Gordy the weatherman in “Oh Mary” (1970). Though a recurring character, Amos felt somewhat sidelined and departed after three seasons. However, a significant breakthrough arrived when he was cast as Florida Evans’ husband, James, in Norman Lear’s groundbreaking sitcom “Maude” (1972), starring Bea Arthur. This role proved pivotal, as the characters of Florida and James Evans were spun off into their own series, the iconic “Good Times” (1974).
“Good Times,” set in a Chicago housing project, initially aimed to depict the experiences of an African-American family with authenticity. John Amos played a central role as the hardworking patriarch James Evans. However, as the series progressed, Amos grew increasingly concerned about the show’s direction. He felt the scripts shifted focus from family values to the exaggerated antics of Jimmie ‘JJ’ Walker’s character, which became immensely popular. This creative divergence led to clashes, and by 1976, John Amos was released from “Good Times,” with his character James Evans written out as having died in a car accident. Despite the controversial exit, “Good Times” remains one of John Amos’s most recognizable TV shows.
Following his departure from “Good Times”, John Amos quickly secured another landmark role that showcased his dramatic depth. He was cast as the adult Kunte Kinte in the monumental mini-series “Roots” (1977). This role earned him an Emmy nomination and is widely considered a career highlight. “Roots” was a cultural phenomenon and remains one of the most impactful television events in history. Despite the success of “Roots”, Amos encountered the ongoing challenge of finding substantial roles for Black actors, often facing stereotypical or underdeveloped characters. He navigated through a mix of projects, including the mini-movie “Willa” (1979) and films like “The Beastmaster” (1982) and “Coming to America” (1988), alongside less fulfilling guest appearances in series like “The Love Boat,” “The A-Team,” and “Murder, She Wrote.”
In the mid-1980s, John Amos returned to the stage, finding critical acclaim and recognition that sometimes eluded him in film and television. In 1985, he received the NAACP Award for Best Actor for his performance in “Split Second.” He garnered further praise for his stage work in productions like “The Boys Next Door,” O’Neill’s “The Emperor Jones,” and Athol Fugard’s “Master Harold…and The Boys.” Amos also expanded his theatrical endeavors into directing, with well-received productions of “Miss Reardon Drinks a Little” and “Twelve Angry Men.” His engagement with classical theater included playing Sir Toby Belch in Shakespeare’s “Twelfth Night” and earning strong reviews in August Wilson’s Pulitzer Prize-winning play “Fences.” His international stage presence included a celebrated performance in “The Life and Death of a Buffalo Soldier” in England. Culminating his stage career was the creation of his one-man show “Halley’s Comet” in 1990, which he wrote and frequently directed, continuing to perform it into the late 2000s.
In later years, John Amos continued to secure recurring roles in notable TV series. He appeared in “The West Wing” and “The District,” showcasing his versatility in political and procedural dramas. More recently, he took on a role in the series “Men in Trees” (2006), demonstrating his continued presence in contemporary television. Throughout his extensive career, John Amos has consistently demonstrated his talent and dedication to acting across movies and TV shows, overcoming industry challenges and leaving a lasting impact on audiences.
John Amos’s contributions extend beyond his performances. He has two children, K.C. Amos and Shannon Amos, both of whom are involved in the film industry as directors, writers, and producers, carrying on the family legacy in entertainment.
