Diane Keaton died on Saturday at the age of 79. His acting career started on Broadway, playing a role in Woody Allen in 1969, playing again in Sam for being nominated for the Tony Prize. He then began to appear in movies. The life and heritage of the acting legend are presented through five important film stations.
The godfather (1972)
Table of Contents
Keaton has practically dripped from Broadway to one of the world’s best-known and respected films, where he played Kay Adams-Corleone, wife of Michael Corleone (Al Pacino). In the godfather, they usually talk about the characters of legendary male ancestors, but he needed Keaton’s character: he is the outsider, he is the point of reference for the viewer, and through him we really see where Michael Corleone sinks as a new godfather.
According to the actress, one of the most favorite things he has ever done was to be selected for Francis Ford Coppola‘s film with minimal film acting, and even without reading the book before casting.
Annie Hall (1977)
Here we crystallize everything we identify with Woody Allen to this day: melancholy, Brooklyn humor, cynicism, continuous, sometimes tiring self -criticism, great -sensitive actor choice and super jokes. The title was changed on the fly to the name of Annie Hall played by Diane Keaton, and the film became a critical and audience success. He won four Oscars, the best script, the best director, the best female protagonist and the best movie.
Keaton formed Woody Allen’s former girlfriend, with whom they existed with or without you. Many guessed whether the film was based on Keaton and Allen’s relationship: Keaton told the New York Times in 1977 that “this is not a true story, but there are true parts.”
Keaton’s character was a pioneer: he formed a complex, independent and self -conscious woman who was not in need of a man – but not only his personality, his clothes were memorable. The masculine, trouser-style style was copied by the film from his own clothes and concreted the actress per style. Keaton preserved his unique style throughout his life, and his Instagram was also popular.
Before divorce (1982)
In the ’70s and’ 80s, the number of divorces in America was at the top, and cinema was responded to the social phenomenon: Kramer v. Kramer, fibers (also directed by Allen, Keaton), but Ingmar Bergman also came from a marriage (film in America in 1974 and the TV series presented in 1974).
Keaton was often found by dramas about a dysfunctional, disintegrating family. Before the divorce, he shape Faith, who seems to have a perfect life with her husband and four daughters, but slowly turns out that the man has an affair. The film also shows with the eyes of adults and children what crazy processes will then start, through depression to domestic violence.
Keaton never married in real life. In 2019, he told People that his generation was perhaps the only one who was single throughout his life, but he was very pleased that he was not married because he was a real eccentric.
The joy (1991)
The joyful series consists of comedy in itself, but it is even more fun to confront the godfather: there, through the character of Keaton, we saw what it is like to stop someone to move away from her husband and disintegrate her family, while she is the voice of her husband, Steve Martin.
Martin and Keaton’s chemistry are fantastic, and the comedy has grown into a two -and -a -half -part series (one -on -one short film under the Crown Avirus), but also an important turning point in Keaton’s career. After the daddy, for a while, he abandoned the bitter-sweet but rather dramatic role of the ’80s and saddled some forgotten comedies.
Divorced Women Club (1996)
It is hard to imagine that the Police Academy and the creator of the waist Dudley direct the film that shot Keaton to new heights. On paper, the divorced women’s club is a light comedy where the three abandoned ex -wife successfully takes revenge on the wealthy ex -husband, who is looking for a younger woman. But in fact, this movie was much more than that: three 50 -year -old actresses (besides Keaton and Goldie Hawn), who could take a comedy on their backs without a male protagonist – could make them financially profitable.
Goldie Hawn, Diane Keaton, Bette Midler – Fotó: Timothy A. Clary / AFP or licensors
The three protagonists could break out of Hollywood stereotypes and, as a middle -aged woman, did not have to form a youthful grandmother or a matron, just funny, smart, sometimes unlucky, but independent, attractive, lovers. Plus, all in the main role.
In fact, Keaton had already created some of this in Annie Hall’s character, but at the divorced women’s club (where her character is also called Annie), she has proven to Hollywood, who is not very graciously treated by middle-aged actresses, to form a woman with real desires and personality over 50. Even in his later roles, the characters of Annie with his own will and desires are often echoed, be it all destiny or the book club.
Diane Keaton won the Oscar for the best female protagonist with Annie Hall, then nominated three more times in the Reds, in the Marvin’s room and all the doomed.
Featured by David Klág and Szente Katica. We used the article to People his obituary.
