Film legend Charlton Heston dead at 84



LOS ANGELES - Charlton Heston, the Oscar winner who portrayed Moses and other heroic figures on film in the '50s and '60s and later championed conservative values as head of the National Rifle Association, has died. He was 84.

The actor died Saturday night at his home in Beverly Hills with his wife Lydia at his side, family spokesman Bill Powers said. He declined to comment on the cause of death or provide further details.

"Charlton Heston was seen by the world as larger than life. He was known for his chiseled jaw, broad shoulders and resonating voice, and, of course, for the roles he played," Heston's family said in a statement.

Heston revealed in 2002 that he had symptoms consistent with Alzheimer's disease.

With his large, muscular build, well-boned face and sonorous voice, Heston proved the ideal star during the period when Hollywood was filling movie screens with panoramas depicting the religious and historical past.

"I have a face that belongs in another century," he often remarked.

The actor assumed the role of leader offscreen as well. He served as president of the Screen Actors Guild and chairman of the American Film Institute and marched in the civil rights movement of the 1960s.

With age, he grew more conservative and campaigned for conservative candidates. In June 1998, Heston was elected president of the NRA, for which he had posed for ads holding a rifle.

Heston famously used to say that the only way his gun would be taken away is "from my cold, dead hands."

Former first lady Nancy Reagan said Sunday in a prepared statement that she was heartbroken to hear of Heston's death.

"I will never forget Chuck as a hero on the big screen in the roles he played, but more importantly I considered him a hero in life for the many times that he stepped up to support Ronnie in whatever he was doing," she said.

The National Rifle Association of America's Wayne LaPierre said, "America has lost a great patriot."

Heston — who once delivered a jab at then-President Clinton, saying, "America doesn't trust you with our 21-year-old daughters, and we sure, Lord, don't trust you with our guns." — stepped down as NRA president in April 2003.

Later that year, President Bush awarded Heston with the Presidential Medal of Freedom, the nation's highest civil honor. "He was a man of character and integrity, with a big heart," Bush said in a statement on Sunday.

Heston also engaged in a lengthy feud with liberal Ed Asner during the latter's tenure as president of the Screen Actors Guild. His latter-day activism almost overshadowed his achievements as an actor, which were considerable.

Heston lent his strong presence to some of the most acclaimed and successful films of the midcentury.

"Ben-Hur" won 11 Academy Awards, tying it for the record with the more recent "Titanic" (1997) and "The Lord of the Rings: The Return of the King" (2003). He won the 1959 best actor Oscar as the chariot-racing "Ben-Hur."

Heston's other hits include: "The Ten Commandments," "El Cid," "55 Days at Peking" and "Planet of the Apes."

He liked to cite the number of historical figures he had portrayed, including Moses ("The Ten Commandments"), John the Baptist ("The Greatest Story Ever Told") and Michelangelo ("The Agony and the Ecstasy").

Heston made his movie debut in the 1940s in two independent films by a college classmate, David Bradley, who later became a noted film archivist. He had the title role in "Peer Gynt" in 1942 and was Marc Antony in Bradley's 1949 version of "Julius Caesar," for which Heston was paid $50 a week.

Film producer Hal B. Wallis ("Casablanca") spotted Heston in a 1950 television production of "Wuthering Heights" and offered him a contract. When his wife reminded him that they had decided to pursue theater and television, he replied, "Well, maybe just for one film to see what it's like."

Heston earned star billing from his first Hollywood movie, "Dark City," a 1950 film noir. Cecil B. DeMille next cast him as the circus manager in the all-star "The Greatest Show On Earth," named by the Motion Picture Academy as the best picture of 1952. More movies followed.

Most were forgettable low-budget films, and Heston seemed destined to remain an undistinguished action star. His old boss DeMille rescued him.



The director had long planned a new version of "The Ten Commandments," which he had made as a silent in 1923 with a radically different approach that combined biblical and modern stories. He was struck by Heston's facial resemblance to Michelangelo's sculpture of Moses, especially the similar broken nose, and put the actor through a long series of tests before giving him the role.

The Hestons' newborn, Fraser Clarke Heston, played the role of the infant Moses in the film.

More films followed: the eccentric thriller "Touch of Evil," directed by Orson Welles; William Wyler's "The Big Country," costarring with Gregory Peck; a sea saga, "The Wreck of the Mary Deare" with Gary Cooper.

Then his greatest role: "Ben-Hur."

Heston wasn't the first to be considered for the remake of 1925 biblical epic. Marlon Brando, Burt Lancaster and Rock Hudson had declined the film. Heston plunged into the role, rehearsing two months for the furious chariot race.



He railed at suggestions the race had been shot with a double: "I couldn't drive it well, but that wasn't necessary. All I had to do was stay on board so they could shoot me there. I didn't have to worry; MGM guaranteed I would win the race."

The huge success of "Ben-Hur" and Heston's Oscar made him one of the highest-paid stars in Hollywood. He combined big-screen epics like "El Cid" and "55 Days at Peking" with lesser ones such as "Diamond Head," "Will Penny" and "Airport 1975." In his later years he played cameos in such films as "Wayne's World 2" and "Tombstone."

He often returned to the theater, appearing in such plays as "A Long Day's Journey into Night" and "A Man for All Seasons." He starred as a tycoon in the prime-time soap opera, "The Colbys," a two-season spinoff of "Dynasty."

Publicist Michael Levine, who represented Heston for about 20 years, said the actor's passing represented the end of an iconic era for cinema. "If Hollywood had a Mount Rushmore, Heston's face would be on it," Levine said.

At his birth in a Chicago suburb on Oct. 4, 1923, his name was Charles Carter. His parents moved to St. Helen, Mich., where his father, Russell Carter, operated a lumber mill. Growing up in the Michigan woods with almost no playmates, young Charles read books of adventure and devised his own games while wandering the countryside with his rifle.

Charles's parents divorced, and she married Chester Heston, a factory plant superintendent in Wilmette, Ill., an upscale north Chicago suburb. Shy and feeling displaced in the big city, the boy had trouble adjusting to the new high school. He took refuge in the drama department.

"What acting offered me was the chance to be many other people," he said in a 1986 interview. "In those days I wasn't satisfied with being me."

Calling himself Charlton Heston from his mother's maiden name and his stepfather's last name, he won an acting scholarship to Northwestern University in 1941. He excelled in campus plays and appeared on Chicago radio. In 1943, he enlisted in the Army Air Force and served as a radio-gunner in the Aleutians.

In 1944 he married another Northwestern drama student, Lydia Clarke, and after his army discharge in 1947, they moved to New York to seek acting jobs. Finding none, they hired on as codirectors and principal actors at a summer theater in Asheville, N.C.

Back in New York, both Hestons began finding work. With his strong 6-feet-2 build and craggily handsome face, Heston won roles in TV soap operas, plays ("Antony and Cleopatra" with Katherine Cornell) and live TV dramas such as "Julius Caesar," "Macbeth," "The Taming of the Shrew" and "Of Human Bondage."

Heston wrote several books: "The Actor's Life: Journals 1956-1976," published in 1978; "Beijing Diary: 1990," concerning his direction of the play "The Caine Mutiny Court Martial" in Chinese; "In the Arena: An Autobiography," 1995; and "Charlton Heston's Hollywood: 50 Years of American Filmmaking," 1998.

Besides Fraser, the Hestons had a daughter, Holly Ann, born Aug. 2, 1961. The couple celebrated their golden wedding anniversary in 1994 at a party with Hollywood and political friends. They had been married 64 years when he died.

In late years, Heston drew as much publicity for his crusades as for his performances. In addition to his NRA work, he campaigned for Republican presidential and congressional candidates and against affirmative action.

He resigned from Actors Equity, claiming the union's refusal to allow a white actor to play a Eurasian role in "Miss Saigon" was "obscenely racist." He attacked CNN's telecasts from Baghdad as "sowing doubts" about the allied effort in the 1990-91 Gulf War.

At a Time Warner stockholders meeting, he castigated the company for releasing an Ice-T album that purportedly encouraged cop killing.

Heston wrote in "In the Arena" that he was proud of what he did "though now I'll surely never be offered another film by Warners, nor get a good review in Time. On the other hand, I doubt I'll get a traffic ticket very soon."

‘Night Music’’s Polly Bergen is Back in Baltimore
Sitting down last week with the legendary Polly Bergen ranks right up there with some of the best theatre experiences of my life. I'll admit I was very nervous, and even managed to spill a bottle of water all over the place! She didn't miss a beat, sopping up the water and continuing her story while I bumbled around like a fool. But that incident just speaks to the graciousness of a terrific lady – professional, but very human. The truth is, we hadn't been talking more than a minute and she immediately put me at ease. Spilled water notwithstanding, the interview flew by.

James Howard: Well, here we are the day after opening night! I appreciate your taking the time for this interview.

Polly Bergen: No problem. (She smiles.) It has been pretty exhausting. Twelve hour days leading up to last night! But it was so exciting, wasn't it? I had the best time!

James: It certainly was exciting. So, tell me how did you find your way to your CENTERSTAGE debut and Baltimore?

Polly: (Director) Mark Lamos and I live about 20 minutes apart up in Connecticut, and we met up at a dinner party being given by A.R. Gurney – there's a really small social circle in Connecticut. Anyway, we got closer, seeing each other at various parties and things, and this past Christmas he said, 'Polly, I'm doing A Little Night Music in Baltimore. I think we'd have a lot of fun – it's really just 1 song and a few great scenes!' Well, I am basically retired, from the stage at least, but as a favor… so I said, 'Sure. When it gets closer, if I'm not booked with something, I'll do it.' Next thing I know, he calls, saying my manager says I'm free, and we start soon! (Laughing) I really love Mark, so here I am!

James: So what do you think of Baltimore?

Polly: Baltimore is one of the most beautiful towns, really. And trust me, I don't say that about every place… There is just something so quaint, old and beautiful about this place. I'm so glad to be back. When I was here shooting Cry Baby, I spent three months here. But the hours were 5 PM to 5 AM, so I only saw it at night, but even that was wonderful. I just love it here! Now that we've opened, and things are settling in, I can't wait to get out and see everything in daylight!

James: Tell me about Madame Armfeldt. How does she fit into the story of A Little Night Music? What does she represent?

Polly: Hmm. Her purpose is to explain the reason for the story and why it is happening, all from her wisdom and knowledge. She was a famous courtesan who never went to bed without getting something – a chateau, jewelry – you must get assets! (She smiles.) She is also trying to teach her daughter (Desiree) not to throw her life away and screw just for romance. She is also trying to teach her granddaughter not to be a replica of Desiree. I think she is also the epitome of Sweden – there is no night; she's dying, but won't sleep – no one knows when to during 24 hours of daylight! I think she is a funny, caustic and sad woman. From what I gathered during rehearsals (and from some friends who are real Sondheim fanatics) is that no one else has really played that before. I find that she chronicles her life with joy, but she fears that she threw out the one love of her life because he only gave her a wooden ring. It was foolish, really, because that ring was a valuable heirloom. Apparently no one else has really played her with a touch of sympathy. I think it makes her more interesting that she is unsure.

James: You were Tony nominated for Follies. Congratulations! Why do you think that production was so roughly reviewed.

Polly: Well, I always said, 'a blind dog with three legs could get a standing ovation for singing 'I'm Still Here'!' But honestly, I think that was the first production of that show that actors were cast for acting first, singing second. The director felt that that the acting was more important, so we really acted the songs. Singing was about a continuation of the scene. I thought they were great – none of us were really singers (at least not anymore) – Blythe (Danner), Judy (Ivey), Treat (Williams), none of us. And as you know Sondheim is TOUGH. We all struggled, and you know what? We got better and better and better! God did we work hard. And what a cast, right? You know that was Kelli O'Hara's first time originating a role on Broadway, too. Hmmm. I guess there are just certain expectations for certain shows, especially Sondheim.

James: I have to tell you, I saw the revival of Cabaret eight times, and you were my favorite Fraulein Schnieder. I thought it was so amazing that you got exit applause after your big act two scene.

Polly: You really saw me in it? You are one of like 15 people I know who saw me in that! I LOVED it so much. I wanted it so bad before it opened. I wanted to be seen and they simply would not even see me! Then I did Follies for them (Roundabout) and the next thing you know, they are asking me to do it! I absolutely loved it! I got to work with Raul Esparza, who I just adore. He is so talented, I love everything he does, don't you!? (She laughs.) And I also got to work with my dear friend, John Stamos. You know, I thought he was just the best. I mean really. A lot of theatre people dismiss TV actors, but I say give them a chance to prove themselves, you know? There are many of them who want to do their best work. Johnny was one of them. We had a ball. By that point in the run, we rehearsed with like the 4^th Assistant Director or something, so we gave each other notes, too. To start with, he was pretty nervous. [The Emcee] was a rough character, and he struggled. I told him, "Don't worry about whether the audience likes you! Should they like the Emcee?" And it clicked! Boy, was he good. (She laughs.) He told me one day, "Polly, could you bring down your German accent a little? I don't understand a word you are saying!" I did, but it was hard! I really worked at that accent!

James: I remember my entire family sitting in front of the TV glued to The Winds of War. What was that experience like? And how about working with Robert Mitchum?

Polly: Ahh… maybe my favorite role! You know that was 12 hours of television we shot for the first part? Herman Wouk HATED Rhoda (Ms. Bergen's Emmy-nominated role in both Winds of War and War and Remembrance). And I thought, 'No! She's really just a victim of her time. I mean, she follows her husband making a home from scratch everywhere they went. I brought a sympathy to the role, I think. But Mitchum and I – we go back to the original film Cape Fear. We've been friends for years, and his wife and I work for the same charity. Anyway, casting was 100% against my playing the role. I auditioned ten or more times. And they couldn't cast anyone. Everyone turned it down. Later, I was told Mitchum insisted I do it. So there I was at home, cooking a Thanksgiving dinner for thirty-four people! And I get the call. Three days before shooting was to begin on a $50 million dollar movie and I cast. That was a Thursday, we started filming on Monday! Boy, did I tease them when I got nominated for an Emmy for a part they didn't want me for! You know, come to think of it, I think I watched the first episode of the show from a hotel here in Baltimore! I'm pretty sure it was here. That day the East Coast had the worst snowstorm in a century and I couldn't get home to Connecticut. How funny!

James: And now you are Lynette's mother on Desperate Housewives! What is it like on that set? Are you going back now that the writer's strike is over?

Polly: I love to play with Felicity Huffman. She is such a powerhouse! I can honestly say I have never worked with a nicer group. I don't care what the tabloids say – I never saw anything but respect and care from anyone. What a great place to work! I had known Nicolette (Sheridan) for some time, and you know, she is just so warm and FUNNY! Eva (Longoria-Parker) is absolutely delicious! I had invited some friends – who told me the ENTIRE Desperate Housewives story before I got to the set – to the set, and she posed for pictures and was so truly gracious. And Marcia Cross is a simply heavenly woman. I regret that I didn't get to really work with Teri (Hatcher) because I respect her work so much. And of course, they just brought in Dana Delaney, another dear friend, to stir things up! But I worked mostly with Felicity, who is wonderful. She is fun and has a great time, but she (and all of them) are very serious about the work. Even working with the kids was great fun. One time, the littlest girl had to come in go to Felicity then get handed off to me. She would NOT come on! So Felicity noticed she loved the grapes on the food service table. So Felicity grabbed a handful and lured her into the scene. What a pro! And hey, I got to do scenes with Richard Chamberlain, who played my gay husband! You can't beat that. As far as going back, I can't see any reason why they would need to, they've got so much else going on. But it's a soap and they didn't kill me off, so who knows? Would I go back if they asked? In a heartbeat! (Laughing) Tell you readers to write the show – "BRING BACK POLLY!"

James: So what advice do you have for our readers who would love to have a career as long and successful as yours?

Polly: Well, this is such a cliché, but don't become a performer unless you want it more than anything else in your life. Other than that, you need to know that luck plus talent plus making your own luck plus being driven is what really gets you there. And if you are fortunate enough to have them listen to the great teachers and coaches. Wait! About preconceived notions… you need to show the people you are auditioning for that even though you don't fit their idea for a role, you might still work out. Look at what happened with me playing Rhoda! It's funny, but the things I really WANTED, I got, even thought it was so hard to get. It was always the stuff I was 50/50 on or didn't care either way that I never got. Now of course, the minute I "retired" I got more work than ever.

James: Ok. Last question –a two parter. What is your favorite role? And what role do you still want to play?

Polly: Generally, I say that the last role I played was my favorite. But really, it is always the parts that are furthest from me that people think I can't play – like Rhoda or my part in Cabaret. Hmmm I guess any part that Angela Lansbury or Marian Seldes would be up for would be parts I'd still like!

James: (Laughing) Maybe a one-woman Deuce?

Polly: Exactly! No, seriously, I've always wanted to play Big Mama. I've never done Tennessee Williams.

James: Thank you so much Ms. Bergen! Enjoy Baltimore.