"The millpond calm of her face, its beauty, its gentleness, its openness and unworldliness became even more heart stopping when she laughed or cried and generations of moviegoers felt their own crush on Diane Keaton escalate into something more. She was more than America's sweetheart: Keaton was the sophisticated, sweet-natured, unaffectedly sensual woman with whom America was unrequitedly in love."
"as Kay, the innocent wife of Al Pacino's Michael Corleone in Coppola's The Godfather (1972), she was the aghast, complicit witness to mob toxicity and murder, paralysed with disillusion and fear as she is shut out of her husband's dealings in his private sanctum and then, in the next film, like a modern-day Medea, Diane Keaton's Kay reveals to the icily infuriated Michael the awful truth about her miscarriage."
Her face possessed a millpond calm: beauty, gentleness, openness and unworldliness that became even more arresting when she laughed or cried, prompting generations to intensify their crush on Diane Keaton. Keaton occupied a rarified romantic status, appearing sophisticated, sweet-natured and unaffectedly sensual. She was central to 1970s American New Wave cinema, moving between the tragedy of Kay in The Godfather—aghast, complicit, shut out of her husband's criminal life and later revealing a miscarriage—and comic brilliance opposite Woody Allen in films such as Sleeper, Play It Again Sam, Love and Death, Manhattan and Annie Hall, where she embodied an elegant, bohemian single woman whose eccentricity, sweetness and vulnerability transcended the manic pixie dream girl stereotype.
Read at www.theguardian.com
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