Recommendations of the Editorial team
When we think of American cinema in the 1970s – that celebrated New Hollywood era when studios took risks and young directors broke the rules – names like Jack Nicholson, Al Pacino, Gene Hackman and Warren Beatty come to mind.
A name that may seem less obvious but should be on this list: Diane Keaton. The Oscar winner, who died on Saturday at the age of 79, later delighted the audience with comedy hits such as “Baby Boom”, “Father of the Bride” and “What the Heart Desires”.
But the heart of their greatness – and the full range of their talent – is evident in the incredible films of the ’70s, even when their characters weren’t the focus.
The moral voice of the “Godfather”
Born in Los Angeles in 1946, Keaton was fascinated by acting from an early age. She appeared on stage for the first time at the end of the 1960s before daring to make the leap onto the screen – initially unsure. Nevertheless, her first major film role remains one of her most important: “The Godfather” (1972). Apart from “Citizen Kane”, hardly any other work is considered as American as this classic. The story of the Corleone mafia clan – the aging Don Vito (Marlon Brando) and his son Michael (Al Pacino) – is legendary, but the tragedy of the film is most vividly reflected in Keaton’s character Kay, who gradually understands how power destroys her lover.
“I never really experienced The Godfather. Not once. It was just too overwhelming for me,” Keaton admitted more than 30 years later. “I was so scared. I was only 23 and not at all myself.”
You can feel this uncertainty in her portrayal – it makes Kay’s fate all the more heartbreaking. As a naive woman who looks for the good in people, she is thrust into a world that frees her from this illusion. In the famous final scene, when Michael takes power and the door closes in Kay’s face, she remains excluded – morally and emotionally. Keaton gave the epic Mafia saga its conscience: it was the symbol of the decency that was disappearing from American life.
From Drama to Comedy: A Muse of the 1970s
Her mixture of vulnerable sincerity and quiet indignation was also evident in the even darker The Godfather II. But Keaton soon conquered comedy: In “Do it again, Sam” (1972), her collaboration with Woody Allen began, which shaped the film comedy of the seventies. Keaton played everything from the eccentric society lady of the future to the intellectual of the 19th century – and embodied the ideal partner for Allen’s neurotic characters with ease, wit and playfulness.
But like Kay in The Godfather, Keaton’s screen persona evolved. As Allen’s films became more complex, so did her roles. “The Urban Neurotic” (1977) – inspired by Keaton’s own biography (her birth name was Hall) – is unthinkable without her.
Annie Hall: The Woman Who Changed Cinema
“Annie Hal”l not only tells the love story of a neurotic comedian, but also the journey of an insecure singer into a self-confident woman who wants more from life. Keaton’s Annie – self-deprecating, charming, unconventional – embodied the newfound freedom of women of the time. She became an icon, a fashion role model and a symbol of female self-determination. The film brought her the Oscar for Best Actress.
But Keaton didn’t stop. Just months later, she played a teacher who breaks out of her everyday life in “Looking for Mr. Goodbar” – a risky, dark portrait of female longing. Her character Theresa, initially inconspicuous, became a symbol of female vulnerability in a dangerous world.
Between tragedy and courage
With Inner Life (1978), Allen’s homage to Ingmar Bergman, Keaton showed her dramatic side: as a fragile, repressed sister, almost crushed by life. Shortly thereafter, she shone in “Manhattan” (1979) as an intelligent, sad author caught between longing and disillusionment. These roles painted a picture of the 1970s as a time of shattered dreams and broken ideals.
Keaton’s acting was direct and unguarded. She left no distance between herself and her characters. Like Joni Mitchell, who “gave it all,” Keaton played with no defenses—her pain, her love, her contradictions were real.
A career full of independence and charm
Her later films followed this line, “Reds” (1981) with Warren Beatty, “Crimes of the Heart” (1986), “Baby Boom” (1987), “Father of the Bride” (1991), “What Your Heart Desires” (2003) and most recently “Book Club”. She always embodied strong, headstrong women with humor and heart – an actress who redefined female comedy and broke stereotypes.
Diane Keaton was eccentric but never foolish. Adorable, but made of steel. Her seemingly light nature caused many to overlook her depth. But she was a pioneer who showed that “the girlfriend” on screen could be as complex, contradictory and great as any male hero.
An American original
As early as 1977, Rolling Stone wrote that she was “the next Katharine Hepburn.” Woody Allen said at the time: “She was born to be a movie star. She has that real American quality.” But looking back it becomes clear: Keaton was not another Hepburn – she was unique.
She combined humor and vulnerability, intelligence and warmth. Her work never radiated effort, but rather naturalness. There is no other Diane Keaton – and there never will be.