Entertainment
Appreciation: John Amos was a pioneering, calming presence onscreen and elsewhere
There is something unusual in the fact that more than a month passed before the death of actor John Amos, 84, was announced Tuesday. But a powerful personality takes a while to come to a full stop.
A Golden Gloves champion, a college football player and a minor league football player before transitioning into entertainment — first as a Greenwich Village stand-up, then writing for Leslie Uggams’ 1969 variety show, and finally graduating to the screen — Amos was built to play authority figures (or anti-authority figures). Roles across his long, busy career have included reverend, inspector, captain, sergeant, doctor, coach, sheriff, pastor, mayor, deacon and, notably, Adm. Percy Fitzwallace, chairman of the Joint Chiefs of Staff in 22 episodes of “The West Wing,” prestige television before the letter. (When Amos met then-Secretary of State Colin Powell, Powell’s first words to him were “Percy Fitzwallace? What kind of name is that for a brother?”)
Even “Gordy the weatherman,” as many of us first knew Amos, on “The Mary Tyler Moore Show,” fit the bill. “Gordy was articulate,” Amos recalled in an interview with the Television Academy Foundation. “I liked the fact that he was a meteorologist [rather than a sportscaster] ‘cause it implies that the man could think, above X’s and O’s.” (In a running joke, he’d be mistaken for a sportscaster.)
John Amos in 2007. He was known for his roles in “The Mary Tyler Moore Show” and the “Good Times” spinoff, “Maude.”
(Nick Ut / Associated Press)
And, of course, in the part for which he is arguably best known, he played a father — not the comic dimwit whose children are all smarter than he, but a caring, responsible and strict figure where it mattered. Amos was only 34 when he was cast as James Evans, Sr., in the 1974 “Maude” spinoff “Good Times” — reflecting his innate maturity, he was 19 years younger than Esther Rolle, who played his wife. (He had played a version of the part in a few episodes of “Maude.”)
In keeping with the Norman Lear house style, loud hectic moments and fits of temper alternated with quiet, reflective, more emotional ones, like “The Honeymooners” but with comments about class and race. It demonstrated the actor’s range, but Amos began to sour on the show as he felt the focus shifting to the low comic antics of Jimmie Walker as slacker son J.J. — “Dyn-o-mite!” you might remember — and said so: “I wasn’t the most diplomatic guy in those days,” he said in the same Academy interview. Eventually the writers “got tired of having their lives threatened over jokes” and, after the third season, Lear let him go. James died offscreen.
But “Roots” was around the corner; as the older version of LeVar Burton’s Kunta Kinte, it was a part for the history books, and opened the door to dramatic parts.
Because of the time in which he was born, it fell to Amos to be something of a pioneer. He was one of a few Black students to integrate his New Jersey elementary and middle school, where he was asked if he had a tail. He married his first wife, Noel J. Mickelson, the mother of his two children, who was white, in 1965, two years ahead of the Loving vs. Virginia decision, in which the Supreme Court struck down laws against interracial marriage. And he got started as an actor in a time when substantial parts for Black actors were harder to come by, and the idea of colorblind casting was a thing of the far the future.
John Amos in 1989, when he starred in “Twelfth Night” at New York’s Central Park Theater.
(Rene Perez / Associated Press)
The stage, meanwhile, allowed him to perform the works of Athol Fugard (“ ‘Master Harold’ … and the Boys” in Detroit), Eugene O’Neill (a tour of “The Emperor Jones” in the part created by Paul Robeson), August Wilson (“Fences” in Albany) and Shakespeare (Sir Toby Belch in a 1989 production of “Twelfth Night” for Joseph Papp’s Shakespeare in the Park, alongside Andre Braugher, LisaGay Hamilton, Michelle Pfeiffer and Gregory Hines). In 1990, he created his own one-man show, “Halley’s Comet,” in which he played a man looking back across the century, and which he toured as recently as 2017.
Between the peaks, his career traces the familiar shape of an actor going where the work goes, including a reunion with Norman Lear on the short-lived “704 Hauser,” about a Black family moving into Archie Bunker’s old home; a recurring parts on the UPN Debbie Allen-LL Cool J sitcom, “In the House” and the CBS crime drama “The District”; and the NBC crime drama “Hunter.” There were many, many guest shots on “The Love Boat” and “The A-Team,” to “30 Rock” and “The Righteous Gemstones.” On the big screen, among many forgotten films, were well-remembered turns in Eddie Murphy’s “Coming to America” and an appearance as himself in Josh and Benny Safdie’s “Uncut Gems.”
TV is where he mattered most. Perhaps my favorite Amos role was as bush pilot Buzz Washington in the 2006 Alaska-set Anne Heche comedy “Men in Trees.” Married for 10 years to mail-order bride Mai (Lauren Tom), who could be a handful, it emphasized the gentleness that underlied his best roles; he could be a calming presence onscreen. Powerful people don’t need to shout to be heard, and are all the more powerful for it.
Movie Reviews
Bandar Movie Review: Bobby Deol roars in Anurag Kashyap’s unsettling legal thriller that refuses to spoon-feed
Name: Bandar
Director: Anurag Kashyap
Cast: Bobby Deol, Sanya Malhotra, Sapna Pabbi, Saba Azad, Jitendra Joshi, Raj B Shetty
Writer: Sudip Sharma, Abhishek Banerjee
Rating: 3.5/5
Plot:
Bandar follows Sameer Mehra’s character, essayed by Bobby Deol, a fading star who is desperately clinging to his past glory. Just as he attempts to rebuild his life and finds solace in a new relationship, his world comes crashing down. A former girlfriend files a heinous allegation against him, dragging him into a vicious, high-profile legal battle. Written by Sudip Sharma and Abhishek Banerjee, the film moves away from standard Bollywood courtroom setups. Instead, it dives straight into the murky waters of social media trials, public perception, and a sluggish judicial system where the truth gets buried under layers of gray.
What works:
Known for his chaotic energy, Anurag Kashyap takes a remarkably mature and controlled approach here. He avoids sensationalizing a highly sensitive topic, choosing instead to focus on the psychological claustrophobia of the protagonist. The prison sequences are exceptionally well-shot. They create a suffocating, raw atmosphere that makes you feel the weight of the character’s confinement. The script successfully avoids preachy, black-and-white monologues. It bravely forces the audience to confront their own biases regarding modern-day public trials and the digital judge-and-jury culture.
What doesn’t:
Clocking in at nearly two hours and twenty minutes, Bandar feels heavily weighed down in the second half. The narrative stretches thin, and a few subplots demand too much patience, making you wish for a tighter edit. The film stubbornly refuses to take a definitive moral stance or offer a neat resolution. While film enthusiasts might appreciate the complexity, mainstream viewers looking for a clear-cut ending or emotional payoff might walk away feeling detached and frustrated.
Performances:
- Bobby Deol is the beating heart of this film. Stripping away the massive macho swagger and menacing villainy of his recent hits, he delivers a deeply vulnerable, understated performance. He plays Samar with a mix of arrogance, confusion, and raw helplessness, proving his immense range.
- Sanya Malhotra anchors her screen time with her trademark reliability, turning in a grounded and impactful performance.
- Saba Azad and Sapna Pabbi excel in their respective roles, bringing genuine nuance to characters that could have easily been sidelined.
- Jitendra Joshi is an absolute scene-stealer, commanding your attention every single time he steps into the frame.
- Indrajith Sukumaran and Raj B Shetty are absolute show stealers with their raw acting.
Final Verdict:
Bandar is an unsettling, morally complex thriller that refuses to spoon-feed its audience. It isn’t a comfortable watch, nor does it try to be. While the sluggish pacing in the second half prevents it from being an absolute masterpiece, it is worth a watch for Bobby Deol’s spectacular acting reinvention and Anurag Kashyap’s gritty, thought-provoking storytelling.
Disclaimer: The views and opinions expressed in this article are solely those of the author and do not reflect the official policy or position of Pinkvilla. No statement in this article is intended to defame, harm, or malign any individual or entity.
ALSO READ: Maa Behen Movie Review: Madhuri Dixit, Triptii Dimri, and Dharna Durga save a slow-burning mystery
Kathy Hilton will no longer be the grand marshal of West Hollywood’s pride parade.
The city and WeHo Pride on Wednesday released a joint statement, announcing that “The Real Housewives of Beverly Hills” star would no longer serve as the Grand Marshal Icon for the 2026 WeHo Pride Parade. The event is scheduled for Sunday.
“After thoughtful discussions, the City of West Hollywood, the WeHo Pride production team, and Kathy Hilton have determined that the 2026 WeHo Pride Parade will not designate a Grand Marshal Icon honoree,” read the statement.
The decision comes less than a week after Hilton was announced. That May 28 announcement was met with swift backlash from the LGBTQ+ community and allies, who called out Hilton’s ties to President Trump and alleged MAGA-leaning politics. Critics also cited accusations that the socialite had used a homophobic slur while on a trip with other cast members of “The Real Housewives of Beverly Hills,” an action she has previously denied.
In their joint statement, West Hollywood and the WeHo Pride team expressed their appreciation for “the respectful and sincere dialogue” around both the event and the “role and significance” of Pride honorees.
“The City of West Hollywood has always believed that Pride belongs to the community,” the joint statement said. “Since its earliest days, Pride has served as both a celebration and a platform for activism, visibility, resilience, and the ongoing pursuit of equality, dignity, and justice for LGBTQ+ people. … These conversations reflect the passion people have for WeHo Pride and underscore the importance of ensuring that WeHo Pride continues to honor the history, values, and diverse voices of the LGBTQ+ community.”
In a statement, Hilton expressed gratitude for being considered for grand marshal and reaffirmed her commitment to the LGBTQ+ community and causes.
“My reason for wanting to be involved in this year’s WeHo Pride weekend was simple: to celebrate, support, and share in the joy of a community that means a great deal to so many people,” Hilton said. “Pride is, and always will be, about celebrating and uplifting LGBTQ+ voices, experiences, and achievements. … My support for the community and WeHo Pride is unwavering.”
She also mentioned several queer advocacy organizations and events she has supported over the years, including GLAAD, the Elton John AIDS Foundation, the Elizabeth Taylor AIDS Foundation, Dr. Mathilde Krim, God’s Love We Deliver and Project Angel Food.
The latest Pride-related dust-up follows the abrupt cancellation of the Long Beach Pride Festival in May. The city’s Pride Parade took place as planned.
Both snafus have occurred as conservative politicians and advocates continue to attack LGBTQ+ rights and visibility nationwide. Some Republican governors have even pushed for conservative alternatives to Pride month festivities. A recent Gallup poll has found that after years of steady gains, support for marriage equality and same-sex relationships has slipped, particularly among Republicans.
Movie Reviews
Movie Review: Travolta’s “Propeller: One-Way Night Coach” is One for the Ages — All Ages
Back in the good ol’days — the ’90s — John Travolta would love to get off the topic of “Michael,” “Pulp Fiction” or “Get Shorty” in interviews with film journalists like me and regale us with how utterly besotted he had been with his first flying experience, how that drove his passion for piloting and buying planes and airfield-adjacent luxury houses.
He didn’t even seem to mind having to move house when this or that development balked at him flying his Boeing 707 out of there on the way to locations.
Travolta would tell any journalist who asked that he was writing a kid-friendly book, “Propeller: One Way Night Coach,” based on his first flights as a child in old propeller driven airliners — cheap red-eye overnight treks with too many connections for your average jet age traveller to tolerate.
I remember picking up the book when it came out later in the ’90s — at an airport gift shop — and thinking “Well, that’s as cute as I figured.”
And now, decades later and trapped in the B-movie hell of his post “Gotti” career, Travolta’s turned that cute book into the most delightful, fanciful and colorful bon bon of a movie.
“One Way Night Coach” is a child’s fantasy of flight and flying the way it used to be — with pristine, uncrowded, futuristic airports, an early ’60s era of jets and prop planes with over-uniformed stewardesses in white gloves, the days “Back before every Joe Sweatsock could wedge himself behind a lunch tray and jet off to Raleigh-Durham,” as Sideshow Bob memorably sneered on “The Simpsons’.”
It’s a fictionalized account of Travolta’s childhood about an only child (at least two Travolta siblings have bit parts in this movie) of a never-made-it/never-will actress/single-mom (Kelly Eviston-Quinnett) who indulges her aviation-obsessed eight-year-old with a cheap cross-country overnight flight.
Little Jeff (Clark Shotwell) will revel in almost every Idlewild to Pittsburgh to Dayton to Chicago to Kansas City to Denver and Los Angeles minute. He strolls into the cockpit to meet pilots, charms the stewardesses and checks out the sleeping bunks on the TWA Lockheed Super Constellation, loving even the delays if not the Chicken Cordon Bleu he’s offered on legs of the journey that offer a meal.
And as he’s an observant child, he comments (Travolta narrates) on his 50ish mother’s vamping and posing, her choice of cigarettes (Newports) and drinks, the solo traveling men whose attention she pursues and earns.
“I was her best audience,” adult Jeff remembers of the mother who’d read him plays as bedtime stories and delusionally hopes that this trip to Los Angeles might be her “big break” even though she’s pushing 50.
“Hollywood called,” she’d explain about their overnight cheap flight arrangements to ticket agents and crew. “They told me to take the next flight!”
At every turn, Jeff meets or sees kindness — stewardesses who indulge his many questions and bump them up to first class on the mostly-empty planes, a captain who fixes his toy model of a Constellation, a mentally ill flyer who flips out but is calmed by a flight attendant who isn’t overworked and frazzled in jet-powered tin-can jammed with Joe and Jane Sweatsocks who think nothing of traveling in their pajamas.
Normally, I cringe at pictures this reliant on voice-over narration. I recoil from stars who populate their picture with Sandler etc. offspring. But “Propeller” is unfailingly sweet and never cloying.
Sure, it’s fictionalized. But if you’ve followed Travolta’s life and career, a lot of him is in this — his raptoruous engagement with flying, an indulged child who developed a taste for fine food and creature comforts, a mother who was his guiding star as an actor.
I get why there are less adoring reviews than mine floating around “Propeller.” It’s unfailingly sweet. Mom’s man-hunting is seriously dated. This TWA tale is decorated with Gershwin’s majestic “Rhapsody in Blue” — United Airlines’ signature tune. And Travolta’s been around long enough for recent generations to come up and not feel a connection to the “Saturday Night Fever/Get Shorty” star whose career has fallen off and life has been visited by too much tragedy.
But I’d hate to be seated next to anybody who doesn’t appreciate this adorable, pristine and nearly perfect aviation fantasy on any flight, much less an overnight one.
Rating: TV-PG
Cast: Clark Shotwell, Kelly Eviston-Quinnett, Ellen Travolta, Ella Beau Travolta, Olga Hoffmann and John Travolta.
Credits: Scripted and directed by John Travolta, based on his book. An Apple TV+ release.
Running time: 1:01
-
Colorado4 minutes agoColorado governor vetoes bill that would have allowed lawsuits against federal immigration officers, signs another to regulate detention centers
-
Connecticut11 minutes agoOwner seeks return of historic Abraham Lincoln documents lost in New London
-
Delaware14 minutes agoDelaware high school lacrosse star returns for playoffs after potentially deadly jaw condition
-
Florida19 minutes agoTeen on e-scooter crashes into Florida deputy’s patrol car, video shows
-
Georgia26 minutes agoChattanooga closes Wilson Road bridge connecting Tennessee to Georgia for structure repair
-
Hawaii29 minutes agoUniversity of Hawaii leaves Spectrum Sports for free over-the-air broadcasts
-
Idaho29 minutes agoIdaho water officials warn thousands of users about potential reductions amid historic drought
-
Illinois41 minutes agoIllinois lawmakers approve statewide regulations for electric bikes, scooters, skateboards
