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By Felix Vasquez Jr.

He was an over actor, he was a scene stealer, he was a film giant, he had a great sense of humor, and without a doubt, he was one of the last mementos of Old Hollywood who left us at the age of 84, presumably after a long bout with Alzheimer's.

Though later in his life he gained slight infamy as a proponent for the NRA and a staunch right winger; the result of which gave way to an infamous malicious attack by Michael Moore in "Bowling for Columbine." Strong right wing views aside, when you look back at Charlton Heston's life and consider his work in the Civil Right's movement marching along side Dr. Martin Luther King Jr., his strong views on gun rights become irrelevant. Once you separate the man from the myth, you'll find an icon that left an awe inspiring foot print on actors and directors everywhere while becoming one of the most quotable onscreen figures of all time. These are arguably some of the best roles and characters Heston ever gave us. Actors come and go, but there will only be one Charlton Heston.

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How do you give validation to a really bad movie? You find a way, baby. Tim Burton did by not only lifting the best one-liners from the original "Planet of the Apes," but also cast Heston himself as a wholly inconspicuous elder of the Ape Planet. Hidden beneath layers of Rick Baker's make up, Heston went immensely unnoticed as the quickly ailing Zaius who is at his death bed mourning for a planet he truly dislikes and mutters a variation of the famous climactic line of the original film: "Damn them all to hell!" Truly it was the gold coin in a pile of cow dung, and the only thing Heston's presence validated was that the original was still ten times better.

Heston wasn't just placed in "Tombstone" as another wonderful nod to the great westerns (Robert Mitchum narrates, by the by), but he was also a touch of credibility to a western no one had faith in from the get go, including the studios who earmarked "Wyatt Earp" to smash the box office. Heston was not only a man who worked with western director Sam Peckinpah, but continued his career of playing historical figures by portraying Henry Hooker, an actual wealthy rancher from the Old West. As a character Hooker really only has a small part in the ultimate playing of events, but he does serve a usefulness in housing the slowly dying Doc Holiday and adds that nice dash of elegance, and bold respect to an already wonderful piece of filmmaking. It’s just one in a line of memorable Heston film cameos.

Following in the grand tradition of portraying historical figures, Heston pulls off a supporting performance as General Andrew Jackson, a man without much of a role until the second half of the historical epic. Until then, “The Buccaneer” is Yul Brenner’s show as he plays the suave and heroic pirat Lafitte, who finds himself teaming with Jackson’s brigade during the war of 1812. Heston as Jackson is a force to be reckoned with, a low browed warrior who has to place his trust in Lafitte during the war to help his army win, and inevitably is forced to divide his loyalties between his country and his allies. Though folks like Brenner, and Bloom star, the dichotomy between Heston and Brenner make for some of the most dynamic. The two simply don’t miss a beat from “The Ten Commandments.”

“By midnight tonight, I want every man in this cavalry drunker than a fiddler’s bitch.” There’s really no other actor who could have delivered such a sharp line without Heston’s ability to place emphasis on every word as if it were his last. “Major Dundee” is his partnership with director Sam Peckinpah, and it’s another of Heston’s greats as he plays the commanding but merciless major of his cavalry, who dictates every move they make, and inspires them to be warriors on the battlefield. And he does this by allowing them to battle amongst each other as strangers of land, and strangers of race: even if it inspires a dead body or two in the process. Dundee is a cold and vicious man of Peckinpah’s Civil war drama, and Heston plays him to a degree that makes him likable, but despicable, and an arguable antagonist who immediately earns the respect of his followers by testing their trust in him on a constant basis. It’s a great performance in a good movie.

Watching Heston as a full blooded Mexican is a decided stretch that many cineastes ignore. Perhaps it’s because “Touch of Evil” was one of the last incredible Noir films of all time. Or perhaps it’s because the film is such a historic landmark and testament to the damage studio interference can inflict on art. Or perhaps it’s just because Heston’s performance is brilliant as a police official with the Mexican Government trying to protect his wife Susie from the tyranny of terrorists and kidnappers, while learning that his system is wholly corrupt once he begins investigating recent terrorist attacks with the pudgy drunkard Captain Hank Quinlan. The gradual evolution of Vargas from a naïve but swift official to a cynical gawking bystander witnessing innocent people being murdered is powerful and makes for some of the most startling instances including Quinlan’s attempts to frame a young man for the explosion at the opening. Heston’s performance is too accomplished to dwell on the faux-Mexican aesthetic he dons.