Hancock was a thickset, affable African-American character actor whose career showcased an impressive range and adaptability—effortlessly shifting between roles like judge, thug, military personnel, or corporate executive. Though his life ended just as he was reaching the peak of his success, Hancock left a lasting impression on audiences and peers alike. He’s perhaps best remembered for his role in the ABC miniseries Roots: The Next Generations, where Hancock portrayed the Coast Guard cook who mentors a young Alex Haley, teaching him valuable lessons about manhood. That performance remains one of his most iconic. In what turned out to be his final role, Hancock starred opposite Susan Dey in the CBS sitcom Love and War, further demonstrating his versatility in both dramatic and comedic settings.
Throughout the 1980s, Hancock became a familiar face on television, especially recognized for his recurring appearances as a judge on the popular NBC legal drama L.A. Law. One standout episode, which earned critical acclaim, featured a trial involving animal activists—complete with powerful footage of animals escaping traps by gnawing off their own limbs—and Hancock’s presence added gravitas to the intense storyline. It was moments like these that made Hancock stand out, not just as a supporting player but as a performer who could elevate any scene he was in.
His career began to take shape with a role in the 1969 TV movie The Monk, which opened doors to more substantial opportunities. From there, Hancock steadily built a solid filmography, appearing in notable films such as The In-Laws (1979), All the Marbles (1981), and Norman Jewison’s acclaimed A Soldier’s Story (1984), based on Charles Fuller’s play. In Tank (1984), Hancock brought warmth and humor to his role as a mess sergeant proudly serving up peach cobbler. Later, in Brian De Palma’s ill-fated Bonfire of the Vanities (1990), he played a character loosely inspired by Al Sharpton, adding depth to a film that otherwise struggled to find its footing.
On the small screen, Hancock had his first regular series role in the short-lived NBC mystery serial Stop Susan Williams (1979), where he played Gold Tooth, a memorable henchman with a distinctive flair. By 1980, he joined the cast of CBS’s Palmerstown, U.S.A., establishing himself as a reliable presence in ensemble casts. He later returned to CBS with a recurring role on Duckman (1984), portraying the father of Clarence Gilyard’s character—a subtle but heartfelt performance. During the 1984–85 season, Hancock appeared as Lt. Delaney on ABC’s Hardcastle & McCormick, bringing authority and quiet dignity to the role.
As the years went on, Hancock continued to take on diverse characters. He played Chicken, the no-nonsense rib joint owner, on Houston Knights (CBS, 1987–88), and later took on a more bureaucratic, self-important persona as a deputy police commissioner in NBC’s Pacific Station (1991–92). Each role, regardless of size, was infused with Hancock’s natural charisma and grounded presence. Even as he moved between networks and genres, Hancock remained a consistent and respected figure in American television and film—one whose contributions, though sometimes under the radar, were deeply felt across decades of storytelling.
When it comes to John Hancock’s career in film, there’s definitely a standout favorite among critics and audiences alike—John Hancock’s highest rated movie is Foul Play from 1978. That film really showcased John Hancock’s talent and direction, earning him well-deserved praise. On the other end of the spectrum, though, things didn’t go quite as smoothly. John Hancock’s lowest rated project turned out to be The Bonfire of the Vanities in 1990, which unfortunately received a lot of criticism upon release. Still, it’s interesting to see the range in John Hancock’s body of work, with both highs and lows contributing to his legacy in the industry.