Charlton Heston's career as a commanding male lead has provided a one-person Hollywood trek through the pages of world history and a forceful, conservative vision of a world in which America always wins. The Northwestern University acting student's first film appearances were in ambitious amateur 16mm productions of "Peer Gynt" (1941) and "Julius Caesar" (1949), both directed by fellow student David Bradley. After WWII service, he and his wife Lydia Clarke worked as models in New York and ran a theater in Asheville, North Carolina before Heston found success on Broadway in Katharine Cornell's production of "Antony and Cleopatra" (1947). He also made a vivid impression on early TV, especially in a flurry of dashing romantic leads (Heathcliff, Rochester, Petruchio) on the famous drama anthology "Studio One". By the time he went to Hollywood to act in William Dieterle's moody film noir "Dark City" (1950), Heston was already a star, listed in the credits ahead of the more established Lizabeth Scott. Over the next four decades he rarely had less than top billing.

With his role as the ill-tempered circus manager in his second film, Cecil B. DeMille's "The Greatest Show on Earth" (1952), Heston began his reign as the actor of choice for Hollywood epics. Solidly built, with a lithe walk and boasting an iron jaw, a granite-carved profile and sonorous voice, he could intimidate opponents with just a glare. Few actors could dish up righteous anger with such force, yet even though many of his screen creations could be unpleasantly hostile, the power of his presence invariably commanded respect, conveyed integrity (even in villainous roles) and often managed to be likable. There was something timeless about his rueful expression and his brand of gritty heroism. At the same time, though, he glorified a concept of the power of the individual which was perfectly in step with middle America's vision of how the world should be. Consequently, even though Heston never quite disappeared into his roles, he was perfect for Hollywood's writing of an Americanized world history picture book and its equally splashy renditions of the Bible.

Heston's take on Buffalo Bill in "The Pony Express" (1953) was the first in a long line of historical and Biblical characters that have included Andrew Jackson ("The President's Lady" 1953; "The Buccaneer" 1958), Moses (in DeMille's landmark second version of "The Ten Commandments" 1956), El Cid (in the 1961 film of that title), John the Baptist ("The Greatest Story Ever Told" 1964), Michelangelo ("The Agony and the Ecstasy" 1965), General Charles Gordon ("Khartoum" 1966), Cardinal Richelieu ("The Three Musketeers" 1973 and its 1975 sequel), Henry VIII ("Crossed Swords" 1977) and Sir Thomas More ("A Man for All Seasons", TNT 1988). Indeed, he seemed to possess the power to transform fiction into fact when his Oscar-winning turn in "Ben-Hur" (1959) elevated the story of a Jewish charioteer transfixed by the sight of Christ to the stuff of legend. As French critic Michel Mourlet infamously rhapsodized, "Charlton Heston is an axiom of the cinema."

Less indecisive and rebellious than Robert Mitchum, less Everymannish than William Holden, Heston, like these fellow 50s icons, was frequently called on to suffer, and frequently with his shirt off. Perhaps it all started with Moses making bricks, but Heston was still stripping down to either get down to work or be punished well into the 80s. As historical epics gradually

became passe in the late 60s, Heston made more Westerns, war sagas and, interestingly, science fiction films to take up the slack. 1968 marked a banner year with two fine landmark roles: the anguished hero of the highly entertaining, futuristic "Planet of the Apes", and the aging, reflective cowpoke of "Will Penny", one of his finest films. The 70s brought the cult classic sci-fi pic "Soylent Green" (1973) ("It's people!!") and a series of routine roles in "Battle of Midway" (1976) and "Gray Lady Down" (1977) titled major, colonel or general. Some later parts, though, traded in wastefully on his iconic value, for instance, his cameo in "True Lies" (1994).

Though hampered by budgetary restrictions, Heston directed his first feature in 1971 with a decent adaptation of Shakespeare's "Antony and Cleopatra" and did double duty again with "Mother Lode" (1982), which was written and produced by his son Fraser. After a fifteen year absence, the actor returned to the small screen as the star of the CBS miniseries "Chiefs" (1983) and later found work as a series regular on the primetime soap opera "The Colbys" (ABC, 1985-87) before settling into a succession of starring roles in telefilms. He directed and starred in a 1988 TNT remake of "A Man for All Seasons", reprising his stage role as Sir Thomas More. Heston went on to essay iconic fictional characters Long John Silver and Sherlock Holmes in two TNT movies adapted and produced by his son. "Treasure Island" (1990) and "The Crucifer of Blood" (1991). Although features allowed him to portray God ("Almost an Angel" 1990) and provided ample opportunity for him to use his marvelous voice as a narrator (e.g., "Armageddon" 1998), Heston continued to find his best roles on TV, adding to his gallery of historical figures with a turn as Brigham Young in TNT's "The Avenging Angel" (1995).

Throughout his career, Heston has been active in the industry, serving as president of the Screen Actors Guild (1966-71) and chairman of the American Film Institute. During the 80s, he was head of President Reagan's task force on the arts and humanities, and remained active in charity work (e.g., The Will Rogers Institute) and politics, earning a reputation as a staunch Republican and a supporter of the National Rifle Association (NRA). He assumed a higher profile in 1998 with a guest appearance as himself on NBC's "Friends" and as the NRA's newly elected president. Later that year, he made the rounds in support of the re-release of Orson Welles' "Touch of Evil" (1958), in which he had starred as the virtuous Mexican government official (sans accent but sporting some nifty black hair) opposite Welles' supremely debauched police captain. Heston, who had been responsible for Welles getting the directing assignment, received a "special thanks" credit on the re-edit fashioned from a 58-page director's memo and has repeatedly avowed his agreement with Cahiers du Cinema that "Touch of Evil" is "beyond any question the greatest B movie ever made."

Heston made a cameo in 2001's "Planet of the Apes" remake as Tim Roth's father, meaning his role was so small he can in no way be blamed for the film's many flaws. This was one of his rare appearances in film or television, though he has stayed active in his political causes.

In 2002, he lent his voice to an animated version of "Ben-hur" which was produced by his son Fraser and shortly after announced he is has been diagnosed with Alzheimer's.

Also Credited As:

Charles Carter

Born:

on 10/04/1924 in Evanston, Illinois

Job Titles:

Actor, Director, Producer, Author, Model

Family Daughter: Holly Ann Heston. adopted in August 1961 Father: Russell Whitford Carter. Grandson: Jack. born in 1991 Mother: Lilla Carter. divorced from Russell Carter and later married to Chester Heston Son: Fraser Clarke Heston. born on February 12, 1955; at three months played the

baby Moses in "The Ten Commandments"; made directorial debut with TV-movie, "Treasure Island" (1990), starring father; executive produced the A&E miniseries, "Charlton Heston Presents the Bible" (1992)

Step-father: Chester Heston.

Education Northwestern University, Evanston, Illinois, speech and drama New Trier High School, Winnetka, Illinois

Milestones 1941 Made feature film debut in a student production of Henrik Ibsen's play, "Peer

Gynt", directed by fellow Northwestern student David Bradley 1943 Served in the US Air Force during WWII; during one 18-month stint was radio

operator on B-29 stationed in the Aleutians; attained rank of sergeant 1947 Broadway debut in "Antony and Cleopatra", starring Katharine Cornell 1947 Directed a revival of F Hugh Herbert's stage comedy "Kiss and Tell" at the

Thomas Wolfe Memorial Theatre 1947 With wife Lydia Clarke, co-founded Thomas Wolfe Memorial Theatre in

Asheville, North Carolina 1948 Acted in stock in various plays in Mt. Gretna, Pennsylvania

1948 TV debut as Marc Antony in a production of "Julius Caesar" staged for the dramatic anthology series, "Studio One"; also played Rochester in a "Studio One" production of "Jane Eyre" that same year

1949 Returned to Broadway in the Joseph Hayes' play, "Leaf and Bough", staged at the Cort Theatre

1950 Made Hollywood (and 35mm) film acting debut in the leading role of director William Dieterle's film noir, "Dark City"

1952 First of three collaborations with Cecil B DeMille, "The Greatesu Show on Earth" 1952 Performed in a radio version of "Double Indemnity" 1953 Narrated the radio series, "Kaleidoscope", for a time 1956 Reteamed with DeMille for "The Ten Commandments", contributing a rather

Aryan Moses to the epic 1958 First film with director William Wyler, "The Big Country" 1958 Played the Beast (opposite Claire Bloom as Beauty) in a TV presentation of

"Beauty and the Beast" on the NBC children's anthology program, "Shirley Temple's Storybook"

1958 Starred alongside Janet Leigh and Orson Welles in Welles' "Touch of Evil" 1960 Earned Best Actor Oscar for his starring role in Wyler's "Ben-Hur" 1963 First TV-movie, "The Patriots" (NBC), a "Hallmark Hall of Fame" drama; played

Thomas Jefferson; directed by George Schaefer 1963 Narrated the short film, "The Five Cities of June" 1965 Formed production company, Court Films, which co-produced (with Universal

Pictures) "The War Lord" 1965 Portrayed Michelangelo in "The Agony and the Ecstacy" 1968 First film with director Tom Gries, "Will Penny" 1968 First science-fiction film, "Planet of the Apes" 1968 Last dramatic role on TV for 15 years, Essex in "Elizabeth the Queen" (NBC), a

"Hallmark Hall of Fame" historical drama co-starring Judith Anderson and directed by Schaefer

1971 Feature directorial debut, "Antony and Cleopatra"; also adapted and starred; formed new production company Folio Films; first non US-production and first of six collaborations with executive producer Peter Snell

1971 Film directing debut, "Antony and Cleopatra", in which he also starred and for which he also briefly formed a new production company, Folio Films; British-made film also marked Heston's first non-US production; first of six collaborations with executive producer Peter Snell who would serve as a producer for Heston's subsequent directorial efforts and for two TNT starring vehicles directed by his son Fraser

1973 Played first supporting role (Cardinal Richelieu) in a major Hollywood feature, "The Three Musketeers"; reprised role in sequel

1982 Directed (and starred in) second feature film, "Mother Lode", written and produced by son Fraser

1983 First TV acting role in 15 years, the CBS miniseries "Chiefs" 1988 TV directorial debut, "A Man for All Seasons" (TNT), also starred as Sir Thomas

More; son Fraser served as one of the producers 1988 TV directorial debut, helming the TNT telefilm, "A Man for All Seasons", in which

he also starred as Sir Thomas More; son Fraser was one of producers 1990 Appeared on the PBS information series "Firing Line" in a debate special on the

issue, "Government is not the solution; it is the problem"; fellow panelists included political commentators William F Buckley Jr and Jeane Kirkpatrick, politicians Newt Gingrich, George McGovern and Gary Hart and fellow actor Dennis Weaver

1990 TV producing debut, a made-for-TNT adaptation of "Treasure Island"; also starred as Long John Silver; written and directed by son Fraser

1991 Portrayed Sherlock Holmes in "The Crucifer of Blood", a TNT movie adapted from Paul Giovanni's play and directed by Fraser Heston

1992 Hosted four-part cable miniseries "Charlton Heston Presents the Bible" (A&E); also wrote original material for program marking TV writing debut

1995 Portrayed a publisher in John Carpenter's "In the Mouth of Madness", based on concepts created by horror writer H P Lovecarft

1997 Became contributing columnist to Guns & Ammo 1998 Made the rounds supporting the rerelease of Orson Welles' "Touch of Evil" 1998 Played himself on an episode of NBC's "Friends" 2000 In July, revealed to The National Enquirer that he had undergone rehab

treatment for a drinking problem 2001 Made cameo appearance as Tim Roth's ape father in the Tim Burton-directed

adaptation of "Planet of the Apes" 2002 Announced he has Alzheimer's disease Acted frequently on such early TV anthology programs as "Suspense", "Chrysler

Medallion Theater", "The Clock", "Robert Montgomery Presents Your Lucky Strike Theater", "Schlitz Playhouse of Stars", "Climax!" and "Philco Playhouse"

Family moved to Winnetka, Illinois where Heston attended high school Grew up in St Helen, Michigan, a small town of 100 resident Moved with wife Lydia Clarke into New York's Hell's Kitchen; supported themselves for

a time by working as models Performed on Chicago radio stations Played Sir Thomas More in Robert Bolt's play, "A Man for All Seasons", in productions

staged in Chicago, Los Angeles and Miami TV series debut, as Jason Colby on the ABC primetime soap opera "The Colbys", a

spin-off from "Dynasty"