Looking back on the life and career of Diane Keaton

The Godfather. Annie Hall. Twin Peaks. Finding Dory. These landmarks mark a truly unique life and career and today, we’ll take a look back upon just that in order to discern what made the late Diane Keaton so special.

Born Diane Hall in 1946, Keaton was the eldest of four children. Expectations of maturity are reflected in Keaton’s early admiration for Katharine Hepburn, whose empowered performances inspired a number of Keaton’s own works. Keaton’s draw to an artistic lifestyle was, however, not simply restricted to acting; upon moving to Manhattan, Keaton moonlighted as a singer, while she later explored the medium of photography.

The versatility of Keaton’s artistic ability is echoed by her equally diverse performances for film. Her filmography was kickstarted in part by Keaton’s introduction to director and actor Woody Allen in 1969, after she starred in his play, Play It Again, Sam. Across her career, Keaton starred in eight of Allen’s films, yet none so acclaimed as 1977’s Annie Hall. As the titular character against Allen’s Alvy Singer, Hall emerges fully-formed despite the constraints of Singer’s narration. Indeed, Keaton’s performance is an all-encompassing cornerstone of ‘70s cinema, helping to subvert expected gender dynamics through Hall’s empowered characterisation and memorable costuming. Annie Hall – as Keaton’s only Oscar win and a semi-autobiographical piece – is an exemplification of both Keaton’s tremendous talent and her warm real-life character.

While Keaton perhaps doesn’t quite receive the screen time she deserves across the films, her ability to hold her own within an entirely male-dominated cast is remarkable

Perhaps as far as you can reach from Annie Hall is the other landmark of Keaton’s career: The Godfather trilogy. As Kay Adams-Corleone, Keaton portrays the increasingly estranged wife of mafia boss protagonist, Michael Corleone. While Keaton perhaps doesn’t quite receive the screen time she deserves across the films, her ability to hold her own within an entirely male-dominated cast is remarkable. Of particular note is her performance in The Godfather Part II. This role especially contrasts the comedic overtones of Annie Hall and myriad of other films in her later career, its desperate tone is matched by Keaton’s own act of devastation, thus providing a basis for some of Keaton’s most dramatic acting – a facet of her ability that she was unfortunately called upon infrequently to utilise.

Indeed, as Keaton’s career progressed, her roles increasingly lurched towards the comedic: in instances such as Something’s Gotta Give – in which she starred alongside Jack Nicholson – her efforts paid off, yet a number of her final films were met with derision. However, let’s not focus on the negatives: Keaton is undoubtedly a talented comic actress, as I must give mention to 1991’s Father of the Bride. A classic in my family for (mostly) the right reasons, Father of the Bride sees Keaton playing wife to an agitated Steve Martin. Much like her career, the film explicates Keaton’s versatility, acting with sincerity against Martin’s panic while contributing to the film’s humour. It’s a woefully underrated film and evidence of Keaton’s unwavering talent.

Away from the camera, Keaton’s positive impact upon others is undeniable. While she never married, Keaton’s eccentric sense of humour drew the affection of frequent collaborator Woody Allen, and she was later romantically involved with Godfather co-star Al Pacino. In a 1989 letter to Keaton, Pacino warmly reflected upon what he and Keaton ‘have together’ before promising to ‘get back’ to her, it’s clear that the relationship the pair shared existed far beyond the realms of a film set and – in reality – in far more positive terms.

Her eccentric and altogether human personality is equally unforgettable

Careers don’t come much more diverse than Diane Keaton’s. Across six years, Keaton starred in over 70 films, ventured into singing and photography, while producing and directing various television episodes and films. Unrestrained by genre, Keaton frequently proved her ability in both the comic and the dramatic, with her sole Oscar win for Annie Hall a perfect showcase of both. Yet what is truly clear to me is Keaton’s genuine personability: a single mother to two adoptees, Keaton’s kindness shines through in her personal life and the wealth of characters she portrayed. While the impact that Keaton left upon the silver screen is irreplaceable, her eccentric and altogether human personality is equally unforgettable.