Charlton Heston

In honor of the passing of the inimitable Mr. Heston I have decided to review a couple of my favorite of his films. While I, at times, found myself virulently opposed to Mr. Heston’s public stances on various issues, there is no question that he is one of my favorite actors. I’ve always tried to resist the urge to conflate the output of various actors and their political positions, it’s almost too easy to dismiss Mel Gibson’s work based on him as a person, for example. But, even if the work is ultimately found lacking it’s not based on public stances taken by the actor, director, or what-have-you.

Touch of Evil (1958). Dir. Orson Welles. While I doubt that I can add anything to the voluminous critical pieces written on this classic of Noir cinema, I’ll take a stab at describing why I find the film so engaging and so upsettingly dark. It’s not merely the subject matter here that juxtaposes honor/uprightness and moral rigidity and the slippery slope of expedient pragmatism; these themes are held trapped, barely confined, within the frame. The stark streets and dingy rooms that the cagey Ramon Miguel Vargas (Heston) stalks purposefully through are the same areas that Quinlan sleazes through. And, best of all, the expected dichotomies are not held in sharp tensions, there is a fluidity of identification, at least in my mind, and even the menacing presence of Hank Quinlan (played by the perfectly appropriate Orson Welles himself) is not without his sympathetic moments.

In some ways the film is as much about the expectations of those members of society who surround the powerful as it is about those with authority themselves. One might see this in the way that Quinlan’s colleagues and subordinates seem to draw him further and further along his spiraling path. And, if Quinlan’s path is greased by the obsequiousness of others, Vargas’ path is seemingly made all the more difficult based on his liminality/marginality. That is to say, his position vis-a-vis his American counterparts is that of the outsider, somewhere between having authority and having none. His ability to navigate an increasingly murky world is shatteringly dark at times.

Of note also is Janet Leigh’s portrayal of Vargas’ wife, she reveals a depth of emotion and the delicacy of her position through her subtle performance that could very well have been overshadowed by the excellence of her costars.

There is no other way to categorize this film except as among the best of the best in terms of acting, directing, cinematography, script, and pacing. This film is unrelentingly amazing and is well-deserving of the critical praise it has received since somewhat muted praise it garnered at the time of its release.

Soylent Green (1973). Dir. Richard Fleischer. A film not so highly regarded amongst critics, which is typical of genre film-making in general, but one that I absolutely love. From the dated techniques of split screen, to the very distinct feeling of the ’70s projected wholesale into the future, to the heart-wrenching last performance of the legendary Edward G. Robinson as Sol Roth, this film is a favorite of mine. Detailing a (still scary!) future of intense over-crowding, poverty, and ecological instability, the film follows Det. Robert Thorn (Charlton Heston) in his dedication to solving a crime that it might have been better to ignore. I will resist all urges to discuss the ending, or really any further plot-points as I think it better to not contribute to ‘giving away’ the ending. That is, just in case there is a single human who has avoided the constant references to the final scene of the film. Undoubtedly, there has to be one person who might read this review and not already know the line that I’m dancing around, right? Right?

While some of the general tone along with the costume design of the film is quite dated, there are still scenes with great power. Especially electrifying are the scenes where Sol (Robinson) acts opposite macho Thorn (Heston). I also am particularly fond of the early scene of the hoodlum assassinating former Soylent executive William R. Simonson (Joseph Cotten). The exchange between the two is a great encapsulation of the major thematic concerns of the film. Right and Truth vs. Necessary and Pragmatic.

I must restrain myself or I’ll end up merely recounting all of my favorite scenes. I’ll just leave it at this: whether you know the twist or not, this film is definitely one of the best and most influential dystopic science fiction films ever made. I urge you to see it, and do me and Mr. Heston a favor: cut the film just a little slack and enjoy it for what it is, don’t try to criticize it for what it couldn’t ever have been.