Elizabeth Hartman Movies

This oddball werewolf outing from hit-and-miss genre auteur Larry Cohen details the comic misadventures of Tony Walker (Adam Arkin, son of Alan), a former high-school jock who is transformed into a werewolf during a family visit to Transylvania. Cursed with immortality, Tony is able to return to his old school stomping ground twenty years later and pass himself off as his own son. The outcome proves more disconcerting for Tony than for his unsuspecting friends, to whom the passing years have been less than kind. Ed McMahon co-stars as Tony's dad. ~ Cavett Binion, Rovi

A Little Bit Like Murder was a hastily videotaped 1973 offering on ABC's Wide World Mystery anthology. The "star" is a well-appointed house, inhabited by evil spirits. These evil Casper clones don't cotton to strangers, and tend to do unspeakable things to new tenants. Elizabeth Hartman shows up just as the credits fade, playing an embittered young woman who despises her family. She enters the fatal house, and for the next 90 minutes it's one malevolent force against another. ~ Hal Erickson, Rovi

John Frankenheimer directed this intense film adaptation of the Bernard Malamud novel. During the days of Czarist Russia, a poor but educated Jew, Yakov Bok (Alan Bates) is abandoned by his wife Raisl (Carol White). Yakov decides to leave his small village and travel to Kiev. Since it is the time of the pogroms, Yakov poses as a gentile and takes a job as a handyman for Lebedev (Hugh Griffith), a drunken anti-Semitic merchant. Yakov rises up the ladder in Lebedev's establishment, and he is eventually promoted to factory overseer-accountant. But when a neighborhood boy is murdered, Yakov's true identity is discovered. Yakov is unjustly accused of the murder and arrested. Bibikov (Dirk Bogarde), a government attorney, believes Yakov to be innocent and attempts to discover the true killer -- realizing that if a confession is forced out of Yakov, the entire Jewish population could be in dire trouble. Bravely, Yakov puts up with the brutal prison life, refusing to confess, hoping Bibikov may discover some new evidence to re-open his case. ~ Paul Brenner, Rovi

Based on the novel by Mary McCarthy, The Group was one of the slickest, and most highly publicized, cinematic soap operas of the 1960s. Filmed largely in New York, the story charts the exploits of eight young women, all of whom graduate from an exclusive Vassar-ish college in the middle of the Depression. Among the talented young actresses making their screen debuts herein are Candice Bergen as Lakey, the group's resident Lesbian; Joan Hackett as Dottie, a repressed socialite who takes up with bohemian artist Dick Brown (Richard Mulligan); Joanna Pettet as Kay, who marries philandering playwright Harald Peterson (Larry Hagman); and Kathleen Widdoes as Helena, the wealthiest of the girls who insists upon proving her value in the workplace. The other girls are Pokey (Marin-Robin Redd), who seems happiest when pregnant; Jessica Walter as Libby, the group's viper-tongued gossip and the darling of the Manhattan literary set (some have suggested that McCarthy based this character on herself); Elizabeth Hartman as Priss, the requisite heart-on-sleeve liberal; and Shirley Knight as Polly, whose bumpy love life culminates in a very colorful engagement party. Hal Holbrook, likewise making his first screen appearance, plays Gus LeRoy. Sumptuously produced, The Group is a bit empty dramatically, though the sheer volume of continuing characters manages to sustain audience interest. (Incidentally, here's a note for "blooper" spotters: wasn't the Pan Am building constructed in the 1950s? ) ~ Hal Erickson, Rovi

In this unexceptional drama by Brazilian director Walter Hugo Khouri there are more than a few references to symbolic or metaphorical meanings as a wealthy man and his retinue take off for a secluded island. The millionaire and his friends intend to go searching for a supposed treasure that is on the island somewhere and once the limited group of individuals arrive at this restricted space a series of personal interactions occurs. Tension heightens between them and it becomes apparent that once a course of action is mutually undertaken, its results can easily get out of hand. ~ Eleanor Mannikka, Rovi