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From My Cold Dead Hands By: Ron Capshaw
FrontPageMagazine.com | Monday, March 19, 2007


From My Cold Dead Hands: A Biography of Charlton Heston
By Emillie Raymond
Harcourt Brace, 2006

Conservative candidates are usually shy about advertising their tinsel-town supporters, mainly because the public perception of actors today, courtesy of the Baldwins and Streisands, credits them of having more money than brains. During the 2004 campaign, as John Kerry attached himself to Ben Affleck, George Bush countered by sharing the podium with war heroes and sports stars—the message being that Republican celebrities do more for their salary than simply make faces in front of a camera.  Although a wise strategy for a public weary of actor/activists, it also sacrifices an invaluable history lesson revealing how far left the Democratic Party has traveled since Vietnam and who it has abandoned on this journey.

When speaking of his former voting record (four times for FDR), Ronald Reagan liked to imply non-movement on his part when switching parties: "I didn't leave the Democratic Party; it left me."  But the year he cited for this parting of ways, 1948, doesn't hold up.  In 1948, the Democratic Party had shifted from Grand Alliance partnership to Communist containment.  Reagan's chronology of a Democratic Party becoming too leftist only works if their presidential candidate that year had been Henry Wallace, not Harry Truman.

If conservatives do seek a celebrity who very presence in their midst gives a more valid chronology of Democratic party lurches to the left, then they should advertise Charlton Heston over Reagan.

Heston had every bit of Reagan's Democratic Party resume: consistent voter for FDR, Truman, Stevenson, JFK.  But at some point during his ferocious campaigning for LBJ, he sensed that the hated Goldwater had the better argument.  An encroaching Great Society and America-bashing New Left later--confirmed this feeling.  Hearing a replayed JFK speech in the late 1960s, while the New Left pillaged and burned, and the Weathermen practiced their marksmanship, ironically on the surface but logical underneath, served as recruitment effort for Heston into the Tricky Dicky camp.  Since then, he has been a consistent and visible supporter of conservative candidates.

Reading this biography, one could've predicted Heston's eventual exchange of parties.  Even while in the midst of Democratic activism, he was experiencing libertarian guilt about what was collectivizing around him.  Unlike Hollywood stars who flocking to a visiting Khrushchev for some face time, Heston makes his disdain for satellite-disciplining known.  While marching on Washington with Dr. King, he registered his nervousness about the others stars (Newman, Brando) and their penchant for mass activism over individualist ones.  And unlike others who characterized the march as an action that would have made Gandhi proud, Heston saw it as an affirmation of Jeffersonianism.

Heston's belief system stayed the same, and that alone made it inevitable that the Democratic Party would move on.  His reasons cited in 1960 for voting the JFK ticket—tax-cutting, strong anticommunism, effective but smaller government, individualist sacrifice for the country rather than vice versa—resembled reasons offered by Democrats for Reagan twenty years later.

Heston was so much an individualist that he inadvertently defied popular trends about Vietnam.  He was at his most ambivalent about it, 1965-66, when public approval was at its highest.  He didn't become more supportive until he visited there in the 1967-68 period, just as public approval was dropping, and he remained so throughout the 1970s.

Today, the issue most identified with Heston is championing gun rights for law-abiding citizens, but even this was predictable early on.  Throughout his public career, Heston worried about trespassing government into individual territory protected by the Constitution, and the elitist celebrities who rationalized it.  Today, as the Clooneys, Streisands and Sharon Stones proclaim their willingness to exchange their Second Amendment rights (which translates into the rest of the country's) for security, Heston reacts the way he always did, even as a Democrat: as an individualist defending principles the Democratic Party would eventually leave him over.

Gun rights so absorbs his energy that not any is left over for movie roles, at least of his own choosing.  He appears as the hobbling villain in Michael Moore's Bowling For Columbine, but oddly, the propaganda Moore attempts to fashion around Heston makes him more sympathetic than sinister.  Moore should have known better simply from an image standpoint, since he lacks the better argument in the debate.  Moore's self-conscious working class image cannot shed the pounds that the hated capitalist system has given him, while Heston possesses a kind of lean-jawed integrity that no amount of good acting can fake. Nor can Moore, with his camera following a cane-leaning Heston off the interview set, create the intended image of a stubborn old man responsible ultimately for murders on the school grounds.  Instead, the image that emerges from this documentary is that of an individualist star who is defending the little guy's rights of gun ownership against not only government intrusion, but the stars who want it taken away, while they venture out into public behind armed bodyguards the rest of the country cannot afford.  If Moore's hope was to steer viewers toward a championing of populism with this interview, then he did, but not in the direction he hoped.
 
Moore was playing dirty by even initiating the interview.  Heston at that point had Alzheimers, but even in his confused state, he was able to recall the defending-the-little-guy sentiments that once made him a Democrat, and also made him refuse to tag along with the Party when it lurched left.

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Ron Capshaw has written for National Review, the New York Sun, Partisan Review and the Weekly Standard. He lives in Richmond, Virginia and is currently writing a biography of Alger Hiss.


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