Diane Keaton
Diane Keaton Hall was an American actress. Her career spanned more than five decades, during which she rose to prominence in the New Hollywood movement. She collaborated frequently with Woody Allen, appearing in eight of his films. Keaton's accolades include an Academy Award, a BAFTA Award, and two Golden Globe Awards, along with nominations for two Emmy Awards and a Tony Award. She was honored with the Film at Lincoln Center Gala Tribute in 2007 and the AFI Life Achievement Award in 2017.
Keaton's career began on stage, acting in the ensemble of the original Broadway production of the musical Hair and the romantic interest in Woody Allen's comic play, Play It Again, Sam, the latter of which earned her a nomination for a Tony Award for Best Featured Actress in a Play. She made her screen debut with a small role in Lovers and Other Strangers before rising to prominence with her first major film role as Kay Adams in Francis Ford Coppola's The Godfather, a role she reprised in the sequels Part II and Part III. She frequently collaborated with Allen establishing herself as a comic actress acting in the film adaptation of Play It Again, Sam followed by Sleeper, Love and Death, and Annie Hall. The latter won her the Academy Award for Best Actress.
Keaton was also Oscar-nominated for her roles as activist Louise Bryant in the historical epic Reds, a leukemia patient in the family drama Marvin's Room, and a dramatist in the romantic comedy Something's Gotta Give. She was known for her roles in dramatic films such as Looking for Mr. Goodbar, Interiors, Shoot the Moon, and Crimes of the Heart, as well as comedic roles in Manhattan, Baby Boom, Father of the Bride, its 1995 sequel, Manhattan Murder Mystery, The First Wives Club, The Family Stone, Finding Dory, Book Club, and its 2023 sequel. As a filmmaker, she directed three films and a documentary, Heaven.
On television, she portrayed Amelia Earhart in the TNT film Amelia Earhart: The Final Flight, which earned her nominations for the Primetime Emmy Award, Golden Globe Award, and Screen Actors Guild Award, and later a nun in the HBO limited series The Young Pope. Keaton was also known for her distinct style and was often labeled a fashion icon and wrote four books, including her memoir Then Again.
Early life
Diane Hall was born on January 5, 1946, in Los Angeles to Dorothy Deanne and John Newton Ignatius "Jack" Hall, She was the eldest of their four children. Dorothy was a homemaker and amateur photographer; Jack was a real estate broker and civil engineer. Through his matriline, Jack was half-Irish. Keaton was raised a Free Methodist by her mother. Her mother won the "Mrs. Los Angeles" pageant for homemakers; Keaton said that the theatricality of the event inspired her first impulse to become an actress and ultimately her desire to work on stage. She also credited Katharine Hepburn, whom she admired for playing strong and independent women, as one of her inspirations.Keaton was a 1963 graduate of Santa Ana High School in Santa Ana, California. During her time there, she participated in singing and acting clubs at school, and starred as Blanche DuBois in a school production of A Streetcar Named Desire. After graduation, she attended Santa Ana College and later Orange Coast College as an acting student, but dropped out after a year to pursue an entertainment career in Manhattan. After joining the Actors' Equity Association, she changed her surname to Keaton, which was her mother's maiden name, as there was already an actress registered under the name of Diane Hall. For a brief time she also moonlighted at nightclubs with a singing act. She revisited her nightclub act in Annie Hall, And So It Goes, and a cameo in Radio Days.
Keaton began studying acting at the Neighborhood Playhouse in Midtown Manhattan, New York. She initially studied acting under the Meisner technique, an ensemble acting technique first evolved in the 1930s by Sanford Meisner, a New York stage actor, acting coach and director who had been a member of The Group Theater. She said that her acting technique was "only as good as the person you're acting with... As opposed to going it on my own and forging my path to create a wonderful performance without the help of anyone. I always need the help of everyone!" According to fellow actor Jack Nicholson, "She approaches a script sort of like a play in that she has the entire script memorized before you start doing the movie, which I don't know any other actors doing that."
Career
1968–1979: ''The Godfather'' films and stardom with ''Annie Hall''
In 1968, Keaton became an understudy for the part of Sheila in the original Broadway production of Hair. She gained some notoriety for her refusal to disrobe at the end of Act I when the cast performs nude, even though nudity in the production was optional for actors. After acting in Hair for nine months, she auditioned for a part in Woody Allen's production of Play It Again, Sam. After nearly being passed over for being too tall, she won the part. She went on to receive a Tony Award nomination for a Best Featured Actress in a Play for her performance in the play.File:Diane Keaton, Woody Allen, Jerry Lacy Play it Again, Sam Broadway.JPG|thumb|Keaton with Woody Allen and Jerry Lacy in the play Play It Again, SamIn 1970, Keaton appeared in a deodorant commercial for Hour After Hour. That same year, she made her film debut in Lovers and Other Strangers. She followed with guest roles on the television series Love, American Style; Night Gallery; and Mannix.
Keaton's breakthrough role came two years later when she was cast as Kay Adams, the girlfriend and eventual wife of Michael Corleone in Francis Ford Coppola's 1972 film The Godfather. Coppola noted that he first noticed Keaton in Lovers and Other Strangers, and cast her because of her reputation for eccentricity that he wanted her to bring to the role. Her performance in the film was loosely based on her real-life experience of making the film, both of which she described as being "the woman in a world of men." The Godfather was an unparalleled critical and financial success, becoming the highest-grossing film of the year and winning the 1972 Academy Award for Best Picture. She reprised her role as Kay Adams in The Godfather Part II. She was initially reluctant, saying, "At first, I was skeptical about playing Kay again in the Godfather sequel. But when I read the script, the character seemed much more substantial than in the first film." In Part II, her character changed dramatically, becoming more embittered about her husband's criminal empire. Even though Keaton received widespread exposure from the films, some critics felt that her character's importance was minimal. Time wrote that she was "invisible in The Godfather and pallid in The Godfather Part II, but according to Empire magazine, Keaton "proves the quiet lynchpin which is no mean feat in necessarily male dominated films."
Keaton's other notable films of the 1970s included many collaborations with Woody Allen. She played many eccentric characters in several of his comic and dramatic films, including Sleeper; Love and Death; Interiors; Manhattan; Manhattan Murder Mystery and the film version of Play It Again, Sam, directed by Herbert Ross. Allen credited Keaton as his muse during his early film career. In 1976, Keaton starred Off-Broadway in the world premier of the Israel Horovitz play Primary English Class at Circle in the Square Theatre. The New York Times review noted, "Keaton gives a delightful portrait of a woman sinking slowly out of control."
In 1977, Keaton won the Academy Award for Best Actress for Allen's romantic comedy-drama Annie Hall, one of her most famous roles. Annie Hall, written by Allen and Marshall Brickman and directed by Allen, was believed by many to be an autobiographical exploration of his relationship with Keaton. Allen based the character of Annie Hall loosely on Keaton. Many of Keaton's mannerisms and self-deprecating sense of humor were added into the role by Allen. Keaton also said that Allen wrote the character as an "idealized version" of herself. The two starred as a frequently on-again, off-again couple living in New York City. Her acting was later summed up by CNN as "awkward, self-deprecating, speaking in endearing little whirlwinds of semi-logic", and by Allen as a "nervous breakdown in slow motion." Annie Hall emerged as a major critical and commercial success and won the Academy Award for Best Picture. Of Keaton's performance, feminist film critic Molly Haskell wrote, "Keaton took me by surprise in Annie Hall. Here she blossomed into something more than just another kooky dame—she put the finishing touches on a type, the anti-goddess, the golden shiksa from the provinces who looks cool and together, who looks as if she must have a date on Saturday night, but has only to open her mouth or gulp or dart spastically sideways to reveal herself as the insecure bungler she is, as complete a social disaster in her own way as Allen's horny West Side intellectual is in his." In 2006, Premiere magazine ranked Keaton in Annie Hall 60th on its list of the "100 Greatest Performances of All Time", and noted:
It's hard to play ditzy... The genius of Annie is that despite her loopy backhand, awful driving, and nervous tics, she's also a complicated, intelligent woman. Keaton brilliantly displays this dichotomy of her character, especially when she yammers away on a first date with Alvy, while the subtitle reads, 'He probably thinks I'm a yoyo.' Yo-yo? Hardly.
Keaton's eccentric wardrobe in Annie Hall, which consisted mainly of vintage men's clothing, including neckties, vests, baggy pants, and fedora hats, made her an unlikely fashion icon of the late 1970s. A small amount of the clothing seen in the film came from Keaton herself, who was already known for her tomboyish clothing style years before Annie Hall, and Ruth Morley designed the film's costumes. Soon after the film's release, men's clothing and pantsuits became popular attire for women. She was known to favor men's vintage clothing, and usually appeared in public wearing gloves and conservative attire.
Her photo by Douglas Kirkland appeared on the cover of the September 26, 1977, issue of Time magazine, with the story dubbing her "the funniest woman now working in films." Later that year she departed from her usual lighthearted comic roles when she won the highly coveted lead role in the drama Looking for Mr. Goodbar, based on the novel by Judith Rossner. In the film, written and directed by Richard Brooks, she played a Catholic schoolteacher for deaf children who lives a double life, spending nights frequenting singles bars and engaging in promiscuous sex. Keaton became interested in the role after seeing it as a "psychological case history." The same issue of Time commended her role choice and criticized the restricted roles available for female actors in American films:
A male actor can fly a plane, fight a war, shoot a badman, pull off a sting, impersonate a big cheese in business or politics. Men are presumed to be interesting. A female can play a wife, play a whore, get pregnant, lose her baby, and, um, let's see... Women are presumed to be dull.... Now a determined trend spotter can point to a handful of new films whose makers think that women can bear the dramatic weight of a production alone, or virtually so. Then there is Diane Keaton in Looking for Mr. Goodbar. As Theresa Dunn, Keaton dominates this raunchy, risky, violent dramatization of Judith Rossner's 1975 novel about a schoolteacher who cruises singles bars.
In addition to acting, Keaton said she "had a lifelong ambition to be a singer." She had a brief, unrealized career as a recording artist in the 1970s. Her first record was an original cast recording of Hair, in 1971. In 1977 she began recording tracks for a solo album, but the finished record never materialized.
Keaton met with more success in the medium of still photography. Like her character in Annie Hall, Keaton had long relished photography as a favorite hobby, an interest she picked up as a teenager from her mother. While traveling in the late 1970s, she began exploring her avocation more seriously. "Rolling Stone had asked me to take photographs for them, and I thought, 'Wait a minute, what I'm really interested in is these lobbies, and these strange ballrooms in these old hotels.' So I began shooting them", she recalled in 2003. "These places were deserted, and I could just sneak in anytime and nobody cared. It was so easy and I could do it myself. It was an adventure for me." Reservations, her collection of photos of hotel interiors, was published in book form in 1980.