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From the film Annie Hall all the way to the movie Something’s Gotta Give: Diane Keaton Emerged as the Quintessential Queen of Comedy.
Plenty of talented actresses have appeared in romantic comedies. Ordinarily, should they desire to win an Oscar, they must turn for more serious roles. Diane Keaton, whose recent passing occurred, charted a different course and made it look seamless ease. Her first major film role was in The Godfather, about as serious an cinematic masterpiece as ever created. Yet in the same year, she revisited the character of Linda, the focus of an awkward lead’s admiration, in a film adaptation of Broadway’s Play It Again, Sam. She persistently switched intense dramas with lighthearted romances during the 1970s, and the comedies that won her an Oscar for best actress, changing the genre permanently.
The Academy Award Part
The Oscar statuette was for the film Annie Hall, written and directed by Woody Allen, with Keaton portraying Annie, part of the film’s broken romance. Allen and Keaton dated previously before making the film, and stayed good friends until her passing; during conversations, Keaton portrayed Annie as a perfect image of herself, as seen by Allen. It would be easy, then, to assume Keaton’s performance meant being herself. However, her versatility in her acting, contrasting her dramatic part and her comedic collaborations and inside Annie Hall alone, to underestimate her talent with funny romances as just being charming – even if she was, of course, tremendously charming.
A Transition in Style
Annie Hall famously served as the director’s evolution between more gag-based broad comedies and a more naturalistic style. As such, it has lots of humor, imaginative scenes, and a improvised tapestry of a love story recollection alongside sharp observations into a ill-fated romance. Likewise, Keaton, oversaw a change in Hollywood love stories, embodying neither the fast-talking screwball type or the sexy scatterbrain famous from the ’50s. Instead, she fuses and merges aspects of both to invent a novel style that feels modern even now, interrupting her own boldness with her own false-start hesitations.
See, as an example the sequence with the couple initially bond after a match of tennis, fumbling over ping-ponging invitations for a lift (despite the fact that only a single one owns a vehicle). The banter is fast, but meanders unexpectedly, with Keaton navigating her own discomfort before ending up stuck of her whimsical line, a phrase that encapsulates her anxious charm. The film manifests that sensibility in the subsequent moment, as she engages in casual chat while operating the car carelessly through city avenues. Afterward, she centers herself performing the song in a club venue.
Depth and Autonomy
These aren’t examples of Annie being unstable. Throughout the movie, there’s a complexity to her playful craziness – her post-hippie openness to sample narcotics, her panic over lobsters and spiders, her unwillingness to be shaped by Alvy’s efforts to turn her into someone apparently somber (which for him means death-obsessed). In the beginning, Annie might seem like an unusual choice to receive acclaim; she plays the female lead in a film told from a male perspective, and the central couple’s arc doesn’t lead to either changing enough to suit each other. But Annie evolves, in aspects clear and mysterious. She just doesn’t become a better match for the male lead. Plenty of later rom-coms stole the superficial stuff – neurotic hang-ups, eccentric styles – without quite emulating her final autonomy.
Ongoing Legacy and Senior Characters
Possibly she grew hesitant of that trend. After her working relationship with Allen ended, she paused her lighthearted roles; Baby Boom is essentially her sole entry from the entirety of the 1980s. Yet while she was gone, the character Annie, the persona even more than the free-form film, served as a blueprint for the genre. Actress Meg Ryan, for example, owes most of her rom-com career to Keaton’s ability to play smart and flibbertigibbet simultaneously. This made Keaton seem like a permanent rom-com queen while she was in fact portraying married characters (whether happily, as in the movie Father of the Bride, or less so, as in The First Wives Club) and/or mothers (see The Family Stone or that mother-daughter story) than single gals falling in love. Even in her comeback with the director, they’re a seasoned spouses drawn nearer by comic amateur sleuthing – and she slips into that role easily, beautifully.
However, Keaton also enjoyed another major rom-com hit in two thousand three with Something’s Gotta Give, as a dramatist in love with a older playboy (actor Jack Nicholson, naturally). What happened? Her final Oscar nomination, and a complete niche of romantic tales where older women (typically acted by celebrities, but still!) reclaim their love lives. A key element her death seems like such a shock is that Diane continued creating such films just last year, a frequent big-screen star. Now audiences will be pivoting from taking that presence for granted to realizing what an enormous influence she was on the rom-com genre as it is recognized. Is it tough to imagine contemporary counterparts of those earlier stars who emulate her path, that’s likely since it’s seldom for a star of her talent to commit herself to a genre that’s frequently reduced to digital fare for a while now.
A Unique Legacy
Ponder: there are 10 living female actors who received at least four best actress nominations. It’s unusual for a single part to start in a light love story, especially not several, as was the example of Keaton. {Because her
Brian Hernandez
A passionate writer and shopping enthusiast with a keen eye for quality products and lifestyle trends.
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