Labeled “stagebound” by some contemporary film critics, the one-location setting of the film and play is still no restraint on the spirit of Robeson or Jones. Robeson, a renowned singer who made “Old Man River” his own in James Whale’s Show Boat (1936), was a civil rights activist who turned down roles perpetuating ugly stereotypes and refused to perform for all-white audiences. And his righteousness bristles under the surface of Jones’ interpretation. Yet it is never overstated. Robeson’s blacklisting in the U.S. does not evoke any bemused witticisms, nor do the historical figure’s endorsements of Joseph Stalin warrant an aria. The film captures the magic of the versatile Jones, alone on the stage, embodying every peripheral character to their core. Paul Robeson won the Oscar for Documentary (Short Subject). It was presented by William Shatner.
The Great White Hope (1970)
Directed by Martin Ritt and focusing on the central romantic dynamic, The Great White Hope holds a coveted title in the pantheon of great sports movies. Jones plays boxer Jack Johnson, the first Black world heavyweight boxing champion. He won that belt in the 15th round when previously undefeated world heavyweight champion, James J. Jeffries, went down for the count on July 4, 1910. The bout was the first boxing match with an African-American contender. The ensuing riots led to the deaths of more than 20 people. The biracial pairing was touted as “The fight of the century,” and Jones gives a performance which stands the test of time.
This is Jones’ first leading film role. As Paul Robeson encapsulates Jones live craft in a theater setting, the 1971 biographical feature may be the closest an audience gets to see Jones’ stage acting transcribed into a cinematic performance. He and Jane Alexander played the same roles when Howard Sackler’s play was first produced in Washington D.C. in 1967, and when it moved to Broadway’s Alvin Theatre in 1968. The author won the Pulitzer Prize for Drama. Alexander and Jones took home Best Acting in a Play awards at the 1969 Tonys. When they both were nominated at the Oscars, Jones was the second Black man nominated for Best Actor, after Sidney Poitier. His performance still packs a punch too.
Matewan (1987)
Jones is dynamic as “Few Clothes” Johnson in director John Sayles’ Matewan. “Few Clothes” is no stranger to the racial epithets thrown at him by belligerent union members, but has “never been called no scab.” Although he was tricked into non-union work by Stone Mountain Coal, “Few Clothes” insists he can “go ton-to-ton loading coal as any man here. When I do, I want the same dollar for the same work.” This personal pride amidst institutional humiliation defines bravery, and the look on Jones’ face betrays the visceral fear he is fighting down. There is a principle here, and no amount of bigoted dehumanization is enough to block a worker from earning enough to eat.
Jones allows “Few Clothes” to grow into his arc on scorched soil. “Few Clothes” is no enemy. He is a worker. The union enemies don’t work, and they don’t pay a decent wage. Matewan provides a bleak but brilliant view of the labor wars, and Jones holds it together with pure physical and intellectual strength—the kind that comes with numbers. Sayles’ story of railroad town union organization is criminally underseen, even when it first hit theaters. It remains an inspirational reminder that success against business is a group effort.
The Bingo Long Traveling All-Stars & Motor Kings (1976)
The Bingo Long Traveling All-Stars & Motor Kings is exciting, contagious, and historically significant. On the surface, the film is about disregarded excellence on the playing field. Beneath lies a strong statement on emerging Black capitalism. Based William Brashler’s 1973 novel which fictionalized stories of real Negro Leagues baseball players, director John Badham delivers a barnstorming grand slam with the power to clear both benches.