Elizabeth Hartman - Film and Theatre Career

Film and Theatre Career

In 1964, Hartman was screen-tested by MGM and Warner Brothers. In the early autumn of 1964, she was offered a leading role in A Patch of Blue, opposite Sidney Poitier and Shelley Winters. The role won Hartman widespread critical acclaim, a fact proudly noted by the news media in her hometown. The role also won Hartman an Academy Award nomination for Best Actress. At the time of her nomination in 1966, Elizabeth Hartman (who was 22 years old) was the youngest nominee ever in the Best Actress category. That same year, Hartman received an achievement award from the National Association of Theater Owners.

She went on to star in three well-received films, The Group, You're a Big Boy Now and The Beguiled. A role as wife of former Sheriff Buford Pusser in Walking Tall (1973) was followed a decade later by voice work in 1982's The Secret of NIMH, wherein she voiced mouse-heroine Mrs. Brisby. This proved to be her last Hollywood film role.

In 1975, Hartman starred in the world premiere of Academy and Emmy Awards nominee Tom Rickman's play Balaam, a play about political intrigue in Washington, D.C. Her costar was veteran actor Peter Brandon, with supporting roles played by Howard Whalen and Ed Harris. The performance was mounted in Old Town Pasadena, California, by the Pasadena Repertory Theatre located in The Hotel Carver. It was directed by Hartman's husband, Gill Dennis and produced by Duane Waddell.

Read more about this topic:  Elizabeth Hartman

Famous quotes containing the words film, theatre and/or career:

    The woman’s world ... is shown as a series of limited spaces, with the woman struggling to get free of them. The struggle is what the film is about; what is struggled against is the limited space itself. Consequently, to make its point, the film has to deny itself and suggest it was the struggle that was wrong, not the space.
    Jeanine Basinger (b. 1936)

    ... the theatre demanded of its members stamina, good digestion, the ability to adjust, and a strong sense of humor. There was no discomfort an actor didn’t learn to endure. To survive, we had to be horses and we were.
    Helen Hayes (1900–1993)

    I doubt that I would have taken so many leaps in my own writing or been as clear about my feminist and political commitments if I had not been anointed as early as I was. Some major form of recognition seems to have to mark a woman’s career for her to be able to go out on a limb without having her credentials questioned.
    Ruth Behar (b. 1956)