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Electrons
04-06-2008, 01:54 AM
http://www.latimes.com/la-me-heston6apr06,0,3675317.story

By Robert W. Welkos and Susan King, Special to The Times
9:48 PM PDT, April 5, 2008
Charlton Heston, the Oscar-winning actor who achieved stardom playing larger-than-life figures including Moses, Michelangelo and Andrew Jackson in historical epics and went on to become a best-selling author, a contentious Hollywood labor leader, an unapologetic gun advocate and darling of conservative causes, has died. He was 84.

Heston died Saturday at his Beverly Hills home, his family said in a statement. In 2002, he had been diagnosed with symptoms similar to those of Alzheimer's disease.

Charlton Heston
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Charlton Heston

With a booming baritone voice, the tall, ruggedly handsome actor delivered his signature role as the prophet Moses in Cecil B. DeMille's 1956 Biblical extravaganza "The Ten Commandments," raising a rod over his head as God miraculously parts the Red Sea.

Heston won the Academy Award for best actor in another religious blockbuster in 1959's "Ben-Hur," racing four white horses at top speed in one of the cinema's legendary action sequences -- the 15-minute chariot race in which his character, a proud and noble Jew, competes against his childhood Roman friend, played by Stephen Boyd.

"I don't seem to fit really into the 20th century," Heston said in a 1965 interview. "Pretty soon, though, I've got to get a part where I wear pants with pleats and pockets."

Heston stunned the entertainment world in August 2002 when he made a poignant and moving videotaped address announcing his illness.

A few days after his dramatic announcement, Heston would sit down for an interview in his beloved Coldwater Canyon home, which he always said "Ben-Hur" had built, and faced the uncertain future with brave resolve and a sense of humor.

"The world is a tough place," he said with a chuckle. "You're never going to get out of it alive."

Late in life, Heston's stature as a political firebrand overshadowed his acting. He became demonized by gun control advocates and liberal Hollywood when he became president of the National Rifle Assn. in 1998.

Heston answered his critics in a now-famous pose that mimicked Moses' parting of the Red Sea. But instead of a rod, Heston raised a flintlock over his head and challenged his detractors to pry the rifle "from my cold, dead hands."

Like the chariot race and the bearded prophet Moses, Heston will be best remembered for several indelible cinematic moments: playing a deadly game of cat and mouse with Orson Welles in the oil fields in "Touch of Evil," his rant at the end of "Planet of the Apes" when he sees the destruction of the Statue of Liberty, his discovery that "Soylent Green is people!" in the sci-fi hit "Soylent Green" and the dead Spanish hero on his steed in "El Cid."

The New Yorker's film critic Pauline Kael, in her review of 1968's "Planet of the Apes," wrote: "All this wouldn't be so forceful or so funny if it weren't for the use of Charlton Heston in the [leading] role. With his perfect, lean-hipped, powerful body, Heston is a god-like hero; built for strength, he is an archetype of what makes Americans win. He represents American power -- and he has the profile of an eagle."

For decades, Heston was a towering figure in the world of movies, television and the stage. He liked to say that he had performed Shakespeare on film more than any other actor, and he once lamented that modern-day movie stars didn't attempt the Bard to hone their acting skills.

"He was the screen hero of the 1950s and 1960s, a proven stayer in epics, and a pleasing combination of piercing blue eyes and tanned beefcake," David Thomson wrote in his book "The New Biographical Dictionary of Film."

Heston also was blessed by working with legendary directors like DeMille in "The Greatest Show on Earth" and again in "The Ten Commandments," Welles in "Touch of Evil," Sam Peckinpah in "Major Dundee," William Wyler in "The Big Country" and "Ben-Hur," George Stevens in "The Greatest Story Ever Told," Franklin Schaffner in "The War Lord" and "Planet of the Apes" and Anthony Mann in "El Cid."

http://230grain.com/images/rsrh/279957464_e3f36c84f7_m.jpg

So long, Mr. Heston. We'll make sure they won't take away your rifle from your cold, dead hands.

Fang
04-06-2008, 02:10 AM
http://www.latimes.com/la-me-heston6apr06,0,3675317.story


http://230grain.com/images/rsrh/279957464_e3f36c84f7_m.jpg

So long, Mr. Heston. We'll make sure they won't take away your rifle from your cold, dead hands.

That is one of the funniest things I've read in a long time.

Clinotus
04-06-2008, 02:18 AM
http://www.latimes.com/la-me-heston6apr06,0,3675317.story


http://230grain.com/images/rsrh/279957464_e3f36c84f7_m.jpg

So long, Mr. Heston. We'll make sure they won't take away your rifle from your cold, dead hands.


By far this is one of the funniest things I've read online in quite some time.

RIP Mr. Heston.

Clinotus
04-07-2008, 02:58 PM
WonderBread For people who dont know who Mr. Heston was courtesy of USA Today:




•The Greatest Show on Earth (1952, Paramount, $10). In just his second major film, Heston landed the male lead (as a circus manager) in its year's top box-office hit. With enough plot to take in a mercy killing and massive train wreck, Cecil B. DeMille's extravaganza is often cited as the worst movie to have taken the Oscar, as if a lot of lackluster picks (from Cimarron to Crash) were half as entertaining.

•The Ten Commandments (1956, Paramount, $25). Paramount broke the bank and earned it back with DeMille's directing swan song, and Heston as Moses (both the young and older, bearded version) avoided the campy (if hugely amusing) histrionics of co-stars Anne Baxter and Edward G. Robinson.

•Touch of Evil (1958, Universal, $15). Though he was absurdly cast as a Mexican narc fighting corruption, this is perhaps the greatest movie with which Heston was ever associated — though his major contribution was championing director/co-star Orson Welles, who was, as always, on the outs with the studio suits. Terrifically reassembled by pros in 1999 to rectify the famous brass-imposed edits.

•The Big Country (1958, MGM/Fox, $15). As Steve the ranch hand, Heston takes an instant dislike to Eastern tenderfoot Gregory Peck, the intended of the ranch owner's daughter (Carroll Baker). Future Ben-Hur director William Wyler's 23/4-hour Western has a memorable fight in which two future American Film Institute chairmen duke it out in a Technirama long shot, artfully showing up as specks amid the vastness the movie's title describes.

•Ben-Hur (1959, Warner, $20 and $40 editions). Heston's Oscar performance off his only nomination solidified his image as the king of historical screen spectacles, and it's doubtful any other actor of the day could have matched him. Uncredited screenwriter Gore Vidal has claimed that Stephen Boyd was instructed to play Messala as if he had a gay thing for Heston's Judah — without letting Heston in on the joke.

•El Cid (1961, Weinstein/Genius, $20 and $40 editions). Spain's 11th-century national hero inspired what remains, with Moses and Ben-Hur, Heston's third signature role. And Sophia Loren (as wife Jimena) strikes an imposing figure as well against Miklos Rozsa's majestic score. Theatrically reissued in 1993, it was, until its January release, one of the most-wanted movies on DVD.

•Major Dundee (1965, Sony, $15). When soon-to-be blackballed director Sam Peckinpah couldn't get the money to finesse his Civil War epic as envisioned, Heston offered to relinquish his salary and found his offer accepted. When this studio-butchered cause célèbre got partly restored into semi-coherency in 2005, one by-product of the added scenes was a more forceful Heston performance (one of his best, in fact).

•The War Lord (1965, Good Times, used copies of the out-of-print DVD go for a bundle). Heston always thought this medieval action drama (surprisingly adapted from a play) was underrated — and it is. He's a knight in love with a peasant (Rosemary Forsyth) from the village he's guarding, a no-no that leads to some stirring battle scenes that director Franklin J. Schaffner thought interfered with the story.

•Planet of the Apes (1968, Fox, $15 and $27 editions). Fox continues to recycle its lucrative Apes franchise, and Heston's beefcake demeanor had a lot to do with the success of the surprise hit that started it all. The picture also got director Schaffner into the big leagues, two years before his Oscar-winning Patton.

•Will Penny (1968, Paramount, $10). One of Heston's oft-cited personal favorites, this authentically mounted Western casts him as a middle-aged cowpoke who finds the woman he loves (Joan Hackett) far too late in life. It's photographed with a lot of purple mountain's majesty by the era's foremost lenser of Westerns: Lucien Ballard (also of True Grit and The Wild Bunch).