Robert Earl Jones

Jones was born in northwestern Mississippi; the specific location is unclear as some sources indicate Senatobia,[1] while others suggest nearby Coldwater.[2] A son of Robert and Elnora Jones, Robert Earl Jones left school at an early age to work as a sharecropper to help his family. He later became a prizefighter. Under the name "Battling Bill Stovall", he was a sparring partner of Joe Louis.[3]

Jones became interested in theater after he moved to Chicago, as one of the thousands leaving the South in the Great Migration. He moved on to New York by the 1930s. He worked with young people in the Works Progress Administration, the largest New Deal agency, through which he met Langston Hughes, a young poet and playwright. Hughes cast him in his 1938 play, Don't You Want to Be Free?.[4][1]

Jones also entered the film business, appearing in more than twenty films. His film career started with the leading role of a detective in the 1939 race film Lying Lips, written and directed by Oscar Micheaux, and Jones made his next screen appearance in Micheaux's The Notorious Elinor Lee (1940).[5] Jones acted mostly in crime movies and dramas after that, with such highlights as Wild River (1960) and One Potato, Two Potato (1964). In the Oscar-winning 1973 film The Sting, he played Luther Coleman, an aging grifter whose con is requited with murder leading to the eponymous "sting". In the later 20th century, Jones appeared in several other noted films: Trading Places (1983) and Witness (1985).[6]

Toward the end of his life, Jones was noted for his stage portrayal of Creon in The Gospel at Colonus (1988), a black musical version of the Oedipus legend. He also appeared in episodes of the long-running TV shows Lou Grant and Kojak. One of his last stage roles was in a 1991 Broadway production of Mule Bone by Hughes and Zora Neale Hurston, another important writer of the Harlem Renaissance.[5] His last film was Rain Without Thunder (1993).[6]

Although blacklisted by the House Un-American Activities Committee in the 1950s, Jones was ultimately honored with a lifetime achievement award by the U.S. National Black Theatre Festival.[5]