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ZippyTheChimp
April 6th, 2008, 08:50 AM
April 6, 2008

Charlton Heston, Epic Film Star and Voice of N.R.A., Dies at 83

By ROBERT BERKVIST

Charlton Heston, who appeared in some 100 films in his 60-year acting career but who is remembered chiefly for his monumental, jut-jawed portrayals of Moses, Ben-Hur and Michelangelo, died Saturday night at his home in Beverly Hills, Calif. He was 83.

His death was confirmed by a spokesman for the family, Bill Powers, who declined to discuss the cause. In August 2002, Mr. Heston announced that he had been diagnosed with neurological symptoms “consistent with Alzheimer’s disease.”

“I’m neither giving up nor giving in,” he said.

Every actor dreams of a breakthrough role, the part that stamps him in the public memory, and Mr. Heston’s life changed forever when he caught the eye of the director Cecil B. De Mille. De Mille, who was planning his next biblical spectacular, “The Ten Commandments,” looked at the young, physically imposing Mr. Heston and saw his Moses.

When the film was released in 1956, more than three and a half hours long and the most expensive that De Mille had ever made, Mr. Heston became a marquee name. Whether leading the Israelites through the wilderness, parting the Red Sea or coming down from Mount Sinai with the tablets from God in hand, he was a Moses to remember.

Writing in The New York Times nearly 30 years afterward, when the film was re-released for a brief run, Vincent Canby called it “a gaudy, grandiloquent Hollywood classic” and suggested there was more than a touch of “the rugged American frontiersman of myth” in Mr. Heston’s Moses.

The same quality made Mr. Heston an effective spokesman, off-screen, for the causes he believed in. Late in life he became a staunch opponent of gun control. Elected president of the National Rifle Association in 1998, he proved to be a powerful campaigner against what he saw as the government’s attempt to infringe on a Constitutional guarantee — the right to bear arms.

In Mr. Heston, the N.R.A. found its embodiment of pioneer values — pride, independence and valor. In a speech at the N.R.A.’s annual convention in 2000, he brought the audience to its feet with a ringing attack on gun-control advocates. Paraphrasing an N.R.A. bumper sticker (“I’ll give you my gun when you take it from my cold, dead hands”) he waved a replica of a colonial musket above his head and shouted defiantly, “From my cold, dead hands!”

Mr. Heston’s screen presence was so commanding that he was never dominated by mammoth sets, spectacular effects or throngs of spear-waving extras. In his films, whether playing Buffalo Bill, an airline pilot, a naval captain or the commander of a spaceship, he essentially projected the same image — muscular, steely-eyed, courageous. If critics regularly used terms like “marble-monumental” or “granitic” to describe his acting style, they just as often praised his forthright, no-nonsense characterizations.

After his success in “The Ten Commandments,” Mr. Heston tried a change of pace. Another legendary Hollywood director, Orson Welles, cast him as a Mexican narcotics investigator in the thriller “Touch of Evil,” in which Welles himself played a murderous sheriff in a border town. Also starring Janet Leigh and Marlene Dietrich, the film, a modest success when it opened in 1958, came to be accepted as a noir classic.

But the following year Mr. Heston stepped back into the world of the biblical epic, this time under the director William Wyler. The movie was “Ben-Hur.” Cast as a prince of ancient Judea who rebels against the rule of Rome, Mr. Heston again dominated the screen. In the film’s most spectacular sequence, he and his co-star, Stephen Boyd, as his Roman rival, fight a thrilling duel with whips as their horse-drawn chariots careen wheel-to-wheel around an arena filled with roaring spectators.

“Ben-Hur” won 11 Academy Awards — a record at the time — including those for best picture, best director and, for Mr. Heston, best actor.

He went on to star opposite Sophia Loren in the 1961 release “El Cid,” battling the Moors in 11th-century Spain. As a Marine officer stationed in the Forbidden City in 1900, he helped put down the Boxer Rebellion in Nicholas Ray’s 1963 epic “55 Days at Peking.” In “Khartoum” (1966), he played Gen. Charles (Chinese) Gordon, who was killed in a desert uprising led in the film by Laurence Olivier’s Mahdi. When George Stevens produced and directed “The Greatest Story Ever Told” in 1965, there was Mr. Heston, back in ancient Judea, playing John the Baptist to Max von Sydow’s Jesus.

He portrayed Andrew Jackson twice, in “The President’s Lady” (1954) and “The Buccaneer” (1958). There were westerns (“Major Dundee,” “Will Penny,” “The Mountain Men”), costume dramas (“The Three Musketeers” and its sequel, “The Four Musketeers,” with Mr. Heston cast as the crafty Cardinal Richelieu in both) and action films aplenty. Whether playing a hard-bitten landowner in an adaptation of James Michener’s novel “The Hawaiians” (1970), or a daring pilot in “Airport 1975,” he could be relied on to give moviegoers their money’s worth.

In 1965 he was cast as Michelangelo in the film version of Irving Stone’s novel “The Agony and the Ecstasy.” Directed by Carol Reed, the film pitted Mr. Heston’s temperamental artist against Rex Harrison’s testy Pope Julius II, who commissioned Michelangelo to create frescoes on the ceiling of the Sistine Chapel. Mr. Heston’s performance took a critical drubbing, but to audiences, the larger-than-life role seemed to be another perfect fit. Mr. Heston once joked: “I have played three presidents, three saints and two geniuses. If that doesn’t create an ego problem, nothing does.”

Mr. Heston was catapulted into the distant future in the 1968 science-fiction film “Planet of the Apes,” in which he played an astronaut marooned on a desolate planet and then enslaved by its rulers, a race of anthropomorphic apes. The film was a hit. He reprised the role two years later in the sequel, “Beneath the Planet of the Apes.”

Son of the Midwest]/b]

It was all a long way from Evanston, Ill., where Charlton Carter was born on Oct. 4, 1924, and from the small town of St. Helen, Mich., where his family moved when he was a small boy and where his father ran a lumber mill. He attended a one-room school and learned to fish and hunt and to savor the feeling of being self-reliant in the wild, where his shyness was no handicap.

When his parents divorced in the 1930s and his mother remarried — his stepfather’s surname was Heston — the family moved to the Chicago suburb of Winnetka. He joined the theater program at his new high school and went on to enroll at Northwestern University on a scholarship. By that time, he was convinced he had found his life’s work.

Mr. Heston also found a fellow drama student, Lydia Clarke, whom he married in 1944, just before enlisting in the Army Air Force. He became a radio-gunner and spent three years stationed in the Aleutian Islands. After his discharge, the Hestons moved to New York, failed to find work in the theater and, somewhat disenchanted but still determined, moved to North Carolina, where they spent several seasons working at the Thomas Wolfe Memorial Theater in Asheville.

When they returned to New York in 1947, Mr. Heston got his first big break, landing the role of Caesar’s lieutenant in a Broadway production of Shakespeare’s “Antony and Cleopatra” staged by Guthrie McClintick and starring Katharine Cornell. The production ran for seven months and proved to be the high point of Mr. Heston’s New York stage career. He appeared in a handful of other plays, most of them dismal failures, although his performance in the title role of a 1956 revival of “Mr. Roberts” won him praise.

If Broadway had little to offer him, television was another matter. He made frequent appearances in dramatic series like “Robert Montgomery Presents” and “Philco Playhouse.” The door to Hollywood opened when the film producer Hal B. Wallis saw Mr. Heston’s performance as Rochester in a “Studio One” production of “Jane Eyre.” Wallis offered him a contract.

Mr. Heston made his film debut in 1950 in Wallis’s “Dark City,” a low-grade thriller in which he played a small-time gambler. Two years later, he did his first work for De Mille as a hard-driving circus boss in “The Greatest Show on Earth.”

Throughout his career he studied long and hard for his roles. He prepared for the part of Moses by memorizing passages from the Old Testament. When filming began on the sun-baked slopes of Mount Sinai, he suggested to De Mille that he play the role barefoot — a decision that he felt lent an edge of truth to his performance.

Preparing for “The Agony and the Ecstasy,” he read hundreds of Michelangelo’s letters and practiced how to sculpt and paint convincingly. When filming “The Wreck of the Mary Deare” (1959), in which he played the pilot of a salvage boat, he learned deep-water diving. And he mostly rejected stunt doubles. In “Ben-Hur,” he said, he drove his own chariot for “about 80 percent of the race.”

“I worked six weeks learning how to manage the four white horses,” he said. “Nearly pulled my arms right out of their sockets.”

As the years wore on, the leading roles began to go to younger men, and by the 1980s, Mr. Heston’s appearances on screen were less frequent. He turned to stage work again, not on Broadway but in Los Angeles, at the Ahmanson Theater, where he played roles ranging from Macbeth to James Tyrone in “Long Day’s Journey into Night.” He also returned to television, appearing in 1983 as a paternalistic banker in the miniseries “Chiefs” and as an oil baron in the series “The Colbys.”

[b]Rifles and a ‘Cultural War’

Mr. Heston was always able to channel some energies into the public arena. He was an active supporter of the Rev. Dr. Martin Luther King Jr., calling him “a 20th-century Moses for his people,” and participated in the historic march on Washington in 1963.

He served as president of the Screen Actors Guild from 1966 to 1971, following in the footsteps of his friend and role model Ronald Reagan. A registered Democrat for many years, he was nevertheless selective in the candidates he chose to support and often campaigned for conservatives.

In 1981, President Reagan appointed him co-chairman of the President’s Task Force on the Arts and Humanities, a group formed to devise ways to obtain financing for arts organizations. Although he had reservations about some projects supported by the National Endowment for the Arts, Mr. Heston wound up defending the agency against charges of elitism.

Again and again, he proved himself a cogent and effective speaker, but he rejected suggestions that he run for office, perhaps for a seat in the Senate. “I’d rather play a senator than be one,” he said.

He became a Republican after Democrats in the Senate blocked the confirmation of Judge Robert Bork, a conservative, to the Supreme Court in 1987. Mr. Heston had supported the nomination and was critical of the Reagan White House for misreading the depth of the liberal opposition.

Mr. Heston frequently spoke out against what he saw as evidence of the decline and debasement of American culture. In 1992, appalled by the lyrics on “Cop Killer,” a recording by the rap artist Ice T, he blasted the album at a Time Warner stockholders meeting and was a force in having it withdrawn from the marketplace.

In the 1996 elections, he campaigned on behalf of some 50 Republican candidates and began to speak out against gun control. In 1997, he was elected vice president of the N.R.A.

In December of that year, as the keynote speaker at the 20th anniversary gala of the Free Congress Foundation, Mr. Heston described “a cultural war” raging across America, “storming our values, assaulting our freedoms, killing our self-confidence in who we are and what we believe.”

A Relentless Drive

The next year, at 73, he was elected president of the N.R.A. In his speech at the association’s convention before his election, he trained his oratorical artillery on President Bill Clinton’s White House: “Mr. Clinton, sir, America didn’t trust you with our health care system. America didn’t trust you with gays in the military. America doesn’t trust you with our 21-year-old daughters, and we sure, Lord, don’t trust you with our guns.”

He was in the news again after the shootings at Columbine High School in Littleton, Colo., in April 1999, when he said that the N.R.A.’s annual membership meeting, scheduled to be held the following week in Denver, would be scaled back in light of the killings but not canceled.

In a memorable scene from “Bowling for Columbine,” his 2002 documentary about violence in America, the director, Michael Moore, visited Mr. Heston at his home and asked him how he could defend his pro-gun stance. Mr. Heston ended the interview without comment.

In May 2001, he was unanimously re-elected to an unprecedented fourth term by the association’s board of directors. The association had amended its bylaws in 2000 to allow Mr. Heston to serve a third one-year term as president. Two months after his celebrated speech at the 2000 convention, it was disclosed that Mr. Heston had checked himself into an alcohol rehabilitation program after the convention had ended.

Mr. Heston was proud of his collection of some 30 guns at his longtime home in the Coldwater Canyon area of Beverly Hills, where he and his wife raised their son, Fraser, and daughter, Holly Ann. They all survive him, along with three grandchildren.

Never much for socializing , he spent his days either working, exercising, reading (he was fond of biographies) or sketching. An active diarist, he published several accounts of his career, including “The Actor’s Life: Journals 1956-1976.”

In 2003, Mr. Heston was among the recipients of the Presidential Medal of Freedom awarded by President Bush. In 1997, he was also a recipient of the annual Kennedy Center honors.

Mr. Heston continued working through the 1990s, acting more frequently on television but also in occasional films. His most recent film appearance found him playing a cameo role, in simian makeup, in Tim Burton’s 2001 remake of “Planet of the Apes.”

He had announced in 1999 that he was receiving radiation treatments for prostate cancer.

He had always hated the thought of retirement and once explained his relentless drive as an actor. “You never get it right,” he said in a 1986 interview. “Never once was it the way I imagined it lying awake at 4 o’clock in the morning thinking about it the next day.” His goal remained, he said, “To get it right one time.”

Ben-Hur
http://graphics8.nytimes.com/images/2008/04/06/movies/22714250.JPG

The Ten Commandments
http://graphics8.nytimes.com/images/2008/04/06/movies/22714590.JPG

El Cid
http://graphics8.nytimes.com/packages/images/photo/2008/04/06/0406-HESTON/9982966.JPG

Planet of the Apes
http://graphics8.nytimes.com/packages/images/photo/2008/04/06/0406-HESTON/9539003.JPG

The Agony and the Ecstasy
http://graphics8.nytimes.com/packages/images/photo/2008/04/06/0406-HESTON/22714492.JPG

NRA
http://graphics8.nytimes.com/images/2008/04/06/movies/06heston-speech.600.jpg



Copyright 2008 The New York Times Company

Meerkat
April 6th, 2008, 09:52 AM
Wow, i didn't know that - he was certainly a movie legend.

Funny, I watching one of his films 'The Omega man' on DVD last night.

lofter1
April 6th, 2008, 03:34 PM
One of Heston's great films, directed by (and also starring) Orson Welles ...

Touch of Evil (http://charltonhestonworld.homestead.com/TouchOfEvil.html)

http://i141.photobucket.com/albums/r68/giancarletto/FILM/WELLES/500/500TouchOfEvil.jpg

Luca
April 7th, 2008, 09:49 AM
R.I.P. Charlie :(

Ninjahedge
April 7th, 2008, 10:24 AM
You think we can pry the gun from him now?

(sorry, I could not help it);)

Bob
April 7th, 2008, 07:36 PM
Too bad Mr. Heston couldn't live to see the 50th anniversary release of the 1959 remake of Ben-Hur. The 1959 version is, in my opinion, the greatest film ever made, hands down. Heston was brilliant, as was just about everything else in the film.

ZippyTheChimp
April 7th, 2008, 07:56 PM
For biblical epics, I guess I agree.

For epics, I choose Lawrence of Arabia.

Greatest film ever made? Too broad a category. But not Ben Hur.

dtolman
April 7th, 2008, 08:03 PM
Touch of Evil (particularly the modern recut) is brilliant - one of the best of the film noir (thus making it one of the best - period). And we have Mr Heston's insistence on Orson Welles as director to thank.

Why can't the make movies like this anymore? I blame color.

JCMAN320
April 7th, 2008, 08:43 PM
R.I.P. Guns and Moses

Luca
April 8th, 2008, 12:31 PM
You think we can pry the gun from him now?

(sorry, I could not help it);)

Unfunny. Superunplusgood, comrade. :mad:

lofter1
April 8th, 2008, 12:50 PM
Point of fact: Heston tossed down the gauntlet on that one ^

ZippyTheChimp
April 8th, 2008, 12:54 PM
R.I.P. Guns and MosesHAHA. I think Charlton would have liked that.

It's unfortunate that Heston's involvement with the NRA - not his beliefs, but some of his over-the-top statements (I choose to believe his behavior was influenced by the onset of Alzheimer's) - has distorted his reputation.

He was a civil rights activist at a time when much of Hollywood was still cowering from McCarthyism. He was opposed to the Vietnam War. He was well regarded by his peers. Rare for a good looking celebrity, he stayed married to the same spouse for over 60 years.

For me as a youth, he was up there with my other favorites - Kirk Douglas, Burt Lancaster, and Richard Widmark.

Ninjahedge
April 11th, 2008, 09:42 AM
Unfunny. Superunplusgood, comrade. :mad:

If he had not said it, I would not have.

http://upload.wikimedia.org/wikipedia/en/4/4f/Colddead-fp.jpg

Luca
April 14th, 2008, 02:24 AM
nice rifle ^

Zephyr
April 14th, 2008, 03:35 AM
“Yep, today I am about as Right-wing as a man can be,” [Charlton Heston] proudly told The Daily Telegraph's Jan Moir in 1999. “They don't come any more Right-wing than me.”


But Heston was not the unreconstructed reactionary his opponents sometimes portrayed. He campaigned on occasion for Democrats as well as Republicans and remained an active champion of the civil rights movement, prepared to stand on line in protests with actors much farther to the political Left than he. His interest in the right to bear arms was matched by a defence of other civil liberties, all rooted in an almost religious reverence for the American Bill of Rights.

From a very lengthy obit, worthy of a read, I have shamelessly excerpted a few lines here-and-there to give this take of C. Heston. Click on copyright line at end of piece to go to the original. unaltered and complete text.





http://www.telegraph.co.uk/portal/graphics/branding/tcuk_400x82_normal.gif


Charlton Heston

07/April/2008

Charlton Heston, who has died aged 84, was an actor of towering physique who was in constant demand to play epic heroes in Hollywood movies of the 1950s and 1960s; he was, later in life, almost as well-known for his staunchly Right-wing stance, especially in his role as president of America's National Rifle Association.

...

He was an actor of limited range, renowned in real life for lacking a sense of humour. ...

Long active in politics, Heston was of rigorously conservative persuasion, though – like his great friend Ronald Reagan – he had begun his involvement in politics as a moderate Democrat who campaigned for Adlai Stevenson, voted for John F Kennedy in 1961 and attended Martin Luther King's march on Washington.

In later life, however, he made no bones about his position. “Yep, today I am about as Right-wing as a man can be,” he proudly told The Daily Telegraph's Jan Moir in 1999. “They don't come any more Right-wing than me.” He supported the Gulf War and opposed both a nuclear freeze and any moves to curtail the individual's right to bear firearms. Six times president of the Screen Actors Guild, he fought long and bitter battles with the liberal comedian Ed Asner over what he saw as attempts to politicise the union.

But Heston was not the unreconstructed reactionary his opponents sometimes portrayed. He campaigned on occasion for Democrats as well as Republicans and remained an active champion of the civil rights movement, prepared to stand on line in protests with actors much farther to the political Left than he. His interest in the right to bear arms was matched by a defence of other civil liberties, all rooted in an almost religious reverence for the American Bill of Rights.

Could he, like Ronald Reagan, have become a politician? Possibly, but he would have had to give up acting, which meant more to him. “I'd rather play a senator than be one,” he said. ...

Of English and Scottish descent, Charlton Heston was born Charles Carter on October 4 1923 at Evanston, Illinois, and grew up at St Helen, Michigan, where his father, Russell Carter, owned a lumber mill. After his parents divorced in the mid-1930s, his mother remarried Chester Heston, a heating appliance superintendent. As an actor, Charlton Heston later assumed his mother's maiden name (Lilla Charlton) and his step-father's surname, but preferred to be called “Chuck” — a nickname that stuck and by which he was happy to be known by friends and strangers alike.

His education was conventional — Stolp Grammar School at Evanston, New Trier High School at Winnetka, Illinois, and Northwestern University, where he enjoyed his first experience of film acting in the title role of a 16mm silent production of Ibsen's Peer Gynt (1942) ...

The veteran director William Wyler cast him in Ben-Hur after a successful collaboration the previous year in the Western The Big Country — a pacifist allegory that became a classic of its kind. Ben-Hur was a huge box-office success and a multiple Oscar-winner, including an award for Heston as best actor of the year.

In 1996 his performance in this film came back to haunt him in a squabble with the writer Gore Vidal, who worked on the script without screen credit. Vidal insisted that he had written the relationship between Ben-Hur and the Roman centurion Messala to imply that they had once been homosexual lovers. Stephen Boyd, who played Messala, and Wyler were said to be privy to this coded sub-text but Heston, by virtue of his known puritanism, was kept in the dark. Heston rejected the notion but the film is at least ambiguous on this score.

Few of Heston's movies made any pretension to art. Exceptions, such as Touch of Evil (1958) and Major Dundee (1965), often suffered at the hands of an insensitive studio. ...

His final role was as Joseph Mengele in a little-seen picture from 2003.

In 2002 he walked out, mid-interview, of an appearance in Michael Moore's documentary Bowling for Columbine, when the NRA was accused of insensitivity in staging its annual conference just after the massacre at a high school. Heston later complained that Moore had ambushed him unfairly. The following year, Heston resigned as president of the NRA and announced that he was suffering symptoms consistent with the onset of Alzheimer's disease. He had been in poor health for some years before his death.

Charlton Heston wrote two books of reminiscences — The Actor's Life (1978), based on his diaries, and a full-scale autobiography, In the Arena (1995).

He married, in 1944, the actress Lydia Clarke, whom he had met as a fellow student at Northwestern University. They had two children: Fraser (who played the infant Moses in The Ten Commandments and is now a director) and a daughter, Holly Ann.


© Copyright of Telegraph Media Group Limited 2008 (http://www.telegraph.co.uk/news/main.jhtml?xml=/news/2008/04/06/db0601.xml)

ablarc
April 14th, 2008, 06:39 AM
His final role was as Joseph Mengele in a little-seen picture from 2003.
Also one of Gregory Peck's last roles (The Boys from Brazil, 1978).

Luca
April 15th, 2008, 09:30 AM
I really could care less what some sad little impecunious hack from a rag liek the Telegraph thinks about someone who was 1000 times the person they'll ever be.

Aside from one's political leanings, CH was a perfectly good actor (albeit of somewhat limited rnage, I'll grant), a good husband and a man who had both principle and a sense of humor (witness his appearance on an annviersary of SNL where he lampooned himself).

The notion that he became a right-winger with age is partly a misconception. As Ronald Reagan once said: "I never left the Democratic Party; the Democratic party left me".

But keep spouting unthinking, bleeding-heart liberal nonsense, by all accounts. Don't let me stop you.

ZippyTheChimp
April 15th, 2008, 10:36 AM
Last week during a day of Heston films, Turner Movie Classics (TMC) broadcast an hour-long interview by Robert Osborne with Heston, originally taped in 1998. They covered his entire career.

Soylent Green, a so-so sci-fi film, had one memorable scene between Heston and Edward G Robinson (his last film). Robinson plays Sol Roth, an elderly friend of Robert Thorn (Heston), who opts for government provided suicide when he learns the truth about soylent green. After being administered drugs, Roth is placed in a room, with video and music of his choice playing while he waits to die.

Thorn hears of Roth's decision, and visits him. They speak through a glass partition. The scene is extremely emotional.

As it turns out, Robinson was terminally ill, and Heston was the only one on the set that was aware of his condition. Robinson died 10 days after filming was complete.

At the conclusion of the interview, Osborne asked Heston if he had any final thoughts.


Our revels now are ended. These our actors,
As I foretold you, were all spirits, and
Are melted into air, into thin air:
And like the baseless fabric of this vision,
The cloud-capp'd tow'rs, the gorgeous palaces,
The solemn temples, the great globe itself,
Yea, all which it inherit, shall dissolve,
And, like this insubstantial pageant faded,
Leave not a rack behind. We are such stuff
As dreams are made on; and our little life
Is rounded with a sleep.Prospero, The Tempest

Zephyr
April 15th, 2008, 11:20 AM
But keep spouting unthinking, bleeding-heart liberal nonsense, by all accounts. Don't let me stop you.

Very enlightening, thoughtful response, from an obviously sensible person. And now that we have your permission not to stop, we are delighted to continue our uninformed and uncool quotations from such drivel.

Fabrizio
April 15th, 2008, 11:33 AM
A gun-totin' Charlton Heston in "Return to the Planet of the Apes" ...looking my-t-fine at 47 years old:

(in 1970 ...before botox and personal trainers).

http://img.photobucket.com/albums/v33/ronaldo/Charlton-Heston---Planet-of-the-Ape.jpg

ZippyTheChimp
April 15th, 2008, 02:42 PM
(in 1970 ...before botox and personal trainers).But there were workout places.

http://25frames.org/media/screens/302.jpg

Fabrizio
April 15th, 2008, 02:57 PM
Lol Lol