When Charlton Heston died April 5 at the age of 83, two themes about his life and work dominated the obituaries.
One theme was how he played larger-than-life characters in florid, cast-of- thousands type movies like “Ben Hur” and “The Greatest Story Ever Told” that were made in the waning days of the Hollywood studio system. Those films are hard to watch today. They’re over-long and over-produced—and Heston, who was never a great actor, invariably chewed scenery like a wood-chipper. In the worst of these films, his hammy delivery was an inspiration to night club comedians.
The second theme that drove the obits was his involvement in the National Rifle Association, summed up by the snarky “gotcha” scene in Michal Moore’s pseudo-documentary, “Bowling for Columbine.” At this late stage, Heston was clearly failing and a bit confused. But he was a kind man, and hospitable to Moore whose obvious mission was to embarrass a larger-than-life figure.
I thought less of Moore after that ambush.
The NRA and Moses—those were the main talking points on Charlton Heston.
To be sure, Some attention was also paid to other aspects of his career, i.e. the run of entertaining science fiction films on the order of “Planet of the Apes,” and “Soylent Green.” Film snobs in their “appreciations” after Heston’s death devoted too much space to “A Touch of Evil,” an overrated film noir mess directed by Orson Welles, the all-time poster boy for film snobs.
But in the end, only passing reference was made to a small 1968 movie that I believe was Heston’s best, and may explain his view world view as well as his advocacy of the Second Amendment. It was a western called “Will Penny,” written and directed by Tom Gries.
In the film, Heston as Will, is an aging itinerant cowboy. He is a large, weather-beaten, inarticulate man resigned to the ways of a cruel, dangerous world. For a change, Heston plays a hero who isn’t standing on a mountain top, but in mud and horse dung.
Evil is represented by a family of outlaw crazies led by Donald Pleasance, a British actor who turns in a tour de force performance as the father, Preacher Quint. One of the Quint sons, Rafe, is played by Bruce Dern, who in those days was so good at doing psycho-cowboy-dirt bags that he became type cast. (See “The Cowboys” and “Hang ‘Em High.”)
Lost in the wilderness, is a young, husbandless mother, Catherine Allen (Joan Hackett) and her son, H.G. who, Will, against his better judgment, allows to stay in his boss’s line cabin. Inevitably, Will and Catherine fall in love. (There’s a great scene in which she gets Will to take a long, overdue bath.)
An inevitably, Will has a showdown with the Quints.
I loved this simple movie, and I suspect Heston loved it, too. In fiction as well is in real life, I imagine Heston saw himself as a protector of the defenseless and that principle was translated into his belief that people should have the right to bear arms in order to defend themselves. Regardless of how one feels about guns, no one should dispute that Heston was a noble, well-meaning man.
I rank “Will Penny” among my favorite westerns.
Here are the others in particular order.
“The Searchers” (John Ford’s greatest film)
“The Culpepper Cattle Company” (Made in the late ’60s with a cast of nobodies.)
“Lonely Are the Brave” (a modern western, starring Kirk Douglas, and based on the Edward Abbey novel, “The Last Cowboy.(
“Outlaw Josey Wales” (Eastwood’s best)
“The Long Riders” (I like this movie in spite of myself. The soundtrack was done by Ry Cooder, and I still have the vinyl record)
“Shane” (Jack Palance’s scenes as the evil regulator steal the movie)
“Tom Horn” (Whatever happened to actors like Steve McQueen?)
“Lonesome Dove” (Made for TV, but still great)
“Wild Bunch” (Opening shot of the little kids burning the scorpion is a classic. A great movie for Warren Oates fans).
Honorable Mentions: “The Professionals,” “Ulzanna’s Raid,” “Little Big Man,” (read the Thomas Berger novel, “The Shootist,” “The Cowboys” and three more Eastwood films, “High Plains Drifter,” “Bronco Billy” (modern) and “Unforgiven.”
Actually, one or two of these could be in the top ten. “The Treasure of the Sierra Madre”would definitely be in there, if I counted it as a western. Maybe I should.