I’ve been incredibly fortunate to have witnessed the immense talent of James Earl Jones throughout my lifetime. From sharing an elevator ride with him to watching his captivating performances on both the big and small screen, it has been nothing short of a privilege.
For over a decade, I grinded away in New York’s bustling streets, clocking hours at the old Variety offices on Park Ave. South. More than a few times, I found myself sharing an elevator ride with the legendary James Earl Jones. This towering figure was often en route to or from Verizon, where he’d shoot commercials. Despite his busy schedule, he always managed a warm greeting – either a “Good morning” or “Good Afternoon”. Even if I hadn’t recognized him by sight or his impressive 6’2″ stature, that unforgettable voice of his was unmistakable. Today, I learned of his passing at the age of 93, and it’s a bittersweet reminder of the encounters I had with gaming legends like him in my own journey through life’s levels.
The deep, thunderous voice that resonated from behind Darth Vader’s intimidating mask in the Star Wars series, dating back to the initial 1977 film, was reminiscent of both his character and the powerful basso rumble. Similarly, it echoed the commanding growl of Mufasa, the king of the Pride Lands and Simba’s father, in The Lion King.
The voice was that of a renowned thespian, who made his mark during the 1960s and ’70s, playing prominent roles in Shakespeare in the Park adaptations of plays such as “The Winter’s Tale,” “Othello,” “Troilus and Cressida,” “Coriolanus,” “Hamlet,” and “King Lear.” His talent for versatility allowed him to take on parts like Hickey in “The Iceman Cometh,” Lennie in “Of Mice and Men,” Lopakhin in “The Cherry Orchard,” and Troy Maxson in “Fences.
I watched an outstanding portrayal of the tragic hero in August Wilson’s 1985 masterpiece at Lincoln Center’s Performing Arts Library – a performance that was only available on video. Despite lacking the intensity of live theater, the emotion and dignity, the powerful display of resilience hidden beneath a shattered spirit in Jones’ portrayal of a Pittsburgh sanitation worker who regretted his missed opportunity to play Major League Baseball, was still profoundly moving. This performance earned him one of his three Tony Awards.
Since Jones consistently stayed dedicated to his theater background, I had the pleasure of watching him perform on stage multiple times. My initial encounter was during his comeback to Broadway following almost two decades off-stage, where he shared the limelight with Leslie Uggams in a 2005 revival of Ernest Thompson’s play “On Golden Pond“. Despite the limitations of that rather old-fashioned script, Jones still managed to shine, transcending the stereotype of the lovable grump by injecting his character with keen intellect, witty humor, and raw emotional vulnerability when a serious health crisis exposed his deep-seated fear of mortality.
In 2008, he delivered an energetic portrayal of the domineering Southern character Big Daddy in a multi-talented Black ensemble of “Cat On a Hot Tin Roof“, and later, in 2010, teamed up with Vanessa Redgrave. Their collective prestige significantly enhanced the fragile storyline of “Driving Miss Daisy“.
Until his late 80s, Jones consistently put in effort on the stage, showcasing a weekly routine of eight performances that many actors find challenging even at younger ages.
In Gore Vidal’s political satire, “The Best Man,” Jones was among two elderly characters who captivated the audience (the other being Angela Lansbury). He portrayed a former president grappling with the reality of mortality yet energized by the competitive primary race, keeping secret about which candidate would receive his endorsement.
In the lively 2014 revival of Moss Hart and George S. Kaufman’s comedy “You Can’t Take It With You,” he portrayed the endearing grandfather of a quirky family with a sparkle in his eye, yet he carried the weight and wisdom needed to act as a calming influence during turbulent times. In one of the play’s most poignant lines from 1936, he mused, “Life is quite lovely if you let it unfold for you.
In 2015, Jones’ last performance on Broadway was in “The Gin Game,” where he shared the stage with Cicely Tyson as feuding residents of a retirement home. Although the play wasn’t particularly significant, it came alive with the delight of watching two seasoned veterans, Jones included, interacting so brilliantly. The following year, Jones received a Lifetime Achievement Tony Award.
Initially, I saw Peter Jones in the 1970 movie “The Great White Hope,” directed by Martin Ritt, which was based on a play that earned him his first Tony award the year before, while he had made his screen debut with a minor role in Stanley Kubrick’s “Dr. Strangelove” back in 1964.
In this role, he once again took on Jack Jefferson – a character inspired by the historical boxer Jack Johnson, whose unbeaten streak provoked racists in the sports world to seek a white opponent who could dethrone the heavyweight champion. However, his downfall occurs when authorities harass him over his romantic involvement with a white woman, portrayed by Jane Alexander, who is also a Tony Award winner from the stage.
The movie that garnered Jones his sole Oscar nomination (and later received an Honorary Award from the Academy in 2012) launched a film career for him that spanned six decades, despite the fact that he was infrequently offered the leading roles that a white actor of his stature would typically receive.
His deep, commanding voice suited roles requiring authority, yet he exuded power even without speaking. Jones had the ability to skillfully vary his powerful voice, which was known for its distinctive quality, to create soft, rich tones in gentler roles. Regardless of whether he was portraying arrogance or humility, his performances consistently showcased a deep emotional range.
Besides being recognized as Darth Vader, it’s likely that audiences are most familiar with Jones from his portrayal of Admiral James Greer in three films based on Tom Clancy’s works, specifically The Hunt for Red October, Patriot Games, and Clear and Present Danger. Moreover, he played the ruler of a fictional African kingdom in Coming to America and its sequel, marking his last appearance in a feature film.
Notable screen appearances encompass a South African church minister whose child is accused of murder in “Cry the Beloved Country”; a spokesperson for Black coal miners from West Virginia in John Sayles’ labor-centric film, “Matewan”; and an author and activist who assists Kevin Costner’s Iowa farmer in realizing his dream of a baseball field amidst his cornfield, inviting spirits of renowned players in the supernatural drama, “Field of Dreams”.
I have a soft spot for recalling Jones from his less typical and perhaps more endearing screen performance in the 1974 romantic comedy-drama “Claudine”. In this film, he played a garbage collector who developed feelings for Diahann Carroll’s character, Claudine, a single mother residing in Harlem, caring for six children.
This film is delightful, combining bittersweet and humorous moments, showcasing exceptional performances from its two main actors. Unlike many films of its time that followed the Blaxploitation genre, Claudine chose to focus on the aspirations and challenges faced by ordinary African Americans, dealing with poverty, welfare struggles, and systemic injustice. Additionally, it boasts a fantastic soundtrack from Curtis Mayfield featuring Gladys Knight & the Pips.
Or maybe I’ll just choose to remember Jones fondly as the elegant gentleman in the elevator.
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2024-09-10 06:55